eae 


a 
op ane Sa 
hs 


ihe 


Hee 


mot 


reas He ee 


wi SE 
ee = 


ee 


UL Gory 
A ret aeabe A 


‘ qnd useq oAvy Wel) Jo « 
Ji ‘Moy Mou T1VUN qn eee 


a A0Y} O1OJOY JO OMILID “ap Aq aot : ‘ 
{| “Xo Weeq eavy uoTov[foo ey, ul sau jured oG4 
(| JO AUB, “AV -UL yo uvoomy 4seq oY 
| JO. eouetjeexe 043 ofqnd sguréng- 


PUB SUIAOC[-aingord yy 0} 97R1}STOMIEp pynoar 
| Oun ‘spueHy sty pue jlesuny 09 ATs 
FY SW UOToo][00 sTy ornsvetd eU} Woy epise 
| ‘78U} COuepyuoo oY} UT seangoId URoloUTy ojur 
| AQUOUI SITY gna sey ey sived 10g “quewysSoAUT 
PIpuolds & sv soseyoind sty peyrem ‘0; yunoweE 
0} ST O[eS e11yUe oY} Fey Jo UO]}eOIpUl Ue 
SB UO TL “YSU OY} Jo sydjeoor oY] puR ‘queuspnt 
SOWIVIO ATL peprsnl Ajperoue# popaeuuoo 
Soolid et} ‘puey 10430 oy} Uo ‘puy “BUIPpIg po 
“Hats Toe “OOS'CS “FY STU oY} Jo eoTad ysaq oy? 
yedn nd Supured qsoq eq jo opps ou Ur. $ 
SPM WEY} PeTeyo AITUNZI0GdO ey pag fod 
dv efoya ot} UO oTqnd Surseqoand our ea 
‘uepedeid puods 
0g JeoIs Oq 0} pres oq Asnl Seu ejOyM ev sR 
O18 OY} ‘SUTesIEq porleplsuod oq 94 s1ur Yoryay 
SoInsy ¥B JUEM ONso[eyvO OY} UO. siequinu 
ou} JO Mos B OSTIUM puv ‘ssurjUled Jomo eu 
Uo SsjYOi1d ey) Aq yesyo Wey} crow yont e10M 
SSU}OYO $.443TU OY} JO PITY? SIy4 UO peroyns 
| OX1VIO “A $B sessol Surya} yong "U9 q} 10y 
Pred pey oy yvyM Aojoq ota pjos 001t]-«ouTT 
oy} JO no sernjzold eUOo-431143 JO seolid ey} 
72} pojeys oy YSnoyIe ‘sysiQ2e URoJIeUy Jo 
SiMOU ey} Jo UOMBIOeIdde s0doad pue onp e jo 
SUIUUIS0q oy} SuLpreur St Sulueag oyy pepaes 
~OL OY BUI PIVS J[OSTUTY OYTVIO “IPL ‘“sareye qav 
Uvolouy Ul Yoods UY SyIeUT A]TBed IT 4BYa pue 2] 
peyovoidde 1aa9 41,UN0d sTy} Ur 8s 4.18 OU qeyy 
quSTIOZBIS OY} Ios AyIoyQne poyserteqUIstp sg; 
ere “Uolepossy 41y uvoteury ey} -JC 
Jeyaq uo Joouoyjone se Aqury “qT semoyy 
4q plos sed sZuured UBdLIOULY JO UOMD0 
7100 OAIVIO “ SPWOUT OY} Jo JUeMIUSISUOD Ysaq 
OU} WOYM “FUlUAAS 48B[ [Te SurTeAoTYD uy unz 
“Od SBA YONA 98Y9 SB O[VS 448 Ue Yons saqEys 
Po}UN OY} Ul e1ojeq useq you sey e1euy 
‘OOS‘eS. ‘oMsSLT ysoudoy on} sSurrgq 
<¢ 9dvospuvy HOVpuorpy ,, Sey 
TeMOH—S}s1Y UvoTLoMLYy &q ssupureg 
tof SOOM Pipucids pue Zurpprg pegrards 


ie py oy - Amr As 
a b=f/ ¢-aT¥S NOLIOaTIO) . S 
‘4HUVI AHL 40 LHDIN DNINAAC 


fx 


yas fete D 
amie 1 of the i eg 
te satnpeon bo 


ractive “Pa 

| gyactive "Beth 

was Emerson MeMil an. Some 
paintings and their prices and 


pet, Chari Davis’s “Sunset on the Moor” 
3 le 25. iin i Moots '“« Hesitation;” “RR 8. 


aeeeere eee eee ee cee ‘tom ae 


#8. eres “A Surf f Ph 
mphr * Nl . iJ age ¥ = f 
i 82, it, Scandia, ‘urphy’s Wet tune 
| Jo [oore ae 


n Ys 54 
| 87. Thomas Hovendon" 8 s HT'se 6 Bo 
ward rae 


Edward 
. Francis 6: 
dences;” W. B. Lockwe 
A. A Miata pe Nene 


ee ee ee Ce a 


pest;’ “parton Mansfe sega ‘ 
| 49, William M. Chase’s ‘' A‘ 


Be Kostlg 

54, George’ Innes! Ss = 1 
Florida s;’’ Edward. 
57... ce pe Ss a ar 
j * m re Soha ee 
} 58. ERawin A. fake Li ie 
q Sampso on 
| 59. Winsbw omer’s Coast in 

Blair, Ohicneo;., eeecese ae 
61. George Inness’s “ Nin c 
B. Torrey. 


| 70. ‘ig aee ee Harvison’ BS at 


74. A. Thay yer's “Roses:”” W. 

75. J. Alden Weir’ s ‘Still Life;”’ C 

76. Samuel Coleman’ ‘3 Au ae er: 

| 84. Wilson Ray e Loc 

~ Well;”’“E. W. Hooper....: ; 

85. George Taneseh Bg *8 unset 
chard—Monteclair;” T. R. 

87. Frederick E. Church’s © 
Sea:’”’ Mrs. G. H. | 

' 88. Douglas Volk's 

... Corcoran Art 


erica ievion 
nue nue every Y alernoo . 


a evening cae: the paying was. 
“The absence of dealers as any 


to the managers of the sale 
who rather welcomes the 
ad appreciation shown of 
8a collector of American artists’ 


ss than that of the first night’s, 

or fy ania offered was the 
‘agarded as even a better. 
heer taken as a whole, 
: 1@ number of small and un- 
‘paintings in the night’s catalogue 


ought higher prices proportionately 
Tuesday, and the total num- 
price of which was less 


the whole lot, as against one- 
don the evening before. Sey- 
es, however, went at prices 
. called high, and there was 
dence expressed that a very fow 
ean advance. in the commercial 


ure for the night was fetched by 
beat Tuesday evenine’s high 
v as commanded by Homer Mar- 
r $100. It was $5,600, paid by George 
1 pte exquisite *“Wooa Gather- 
bs etators applauded when 


3,000, but the  bid- 
line The. total 

Men the 
AAR 04.595 
ialf, in number, 


the buying is not in the 


th total: ot last ie sales” 


in Tuesday’s. These smaller 


@ had paid for them was only 


be PUBLIC SALE 
| 


any 14, 15, 16.00 17 
*F signe AMDOCS ERE ENA 


T'EENTH ST, 


' 


FRUARY 15,16, 174x218 


a 
‘SOUTH 


it | O . 


M ierorss DAY AND EVENING, FROM 
/ ATE OF SALE, INCLUSIVE 


‘ERICAN ART Assoc fn 
. MANAGERS 


saempsatie denen ee 


E>) 


a SONG RE NER 9 ee 


as 
Re ee eo a 


or 


Le neni cE re ei oe Sate ae tit one 


— 4 


ah | ering Hall last 
| dently already m 


: ‘the sale_ 
tion of Mr Thomas 
ings and to bid — a] 


2 HES a 8 Rg a 


create 


pos pre aa! 
After the bids hi 
‘first advance - fs 


——=. TE ee 


em 0 


162 
™ Part [. Paintings 


CATALOGUE 


OF THE 


PRIVATE ART COLLECTION 
| 


OF 


i 
: 
NEW YORK 
TO BE SOLD AT ABSOLU ry PUBLIC SALE 


ON THE EVENINGS OF FEBRUARY LA, 15, 16 ano 17 


[IIPS ED. gis ERS OE As 


FIFTH AVE. AND EIGHT >pentuH st. 
AND 


ON THE AFTERNOONS OF FEBFzUARY 15, 16, 17 4x2 18 


MADISON SQUARE £ SOUTH 


* 
WHERE THE ENTIRE COLLECTION WILL BE ON EXHIBITION, DAY AND EVENING, FROM O 
Tukspay, FEBRUARY 7TH, UNTIL Dé. TE OF SALE, INCLUSIVE 


THOMAS E. KIRBY THE AME&RICAN ART associ fONn 


AUCTIONEER MANAGERS vy aA e 
NEW YORK cD O- 
1899 O oe 


[A 


erTrman  i00KIN: . out. ~a@vove-- tno 

7 "Aine Into a windstorm, was bid up rapidly from 
gal $1,000 to $1,625, It was bought 

% 2 Harsen mioaios Louis Moeller’s 
galed,” the old man of books brought 

0 .@ standstill by some problem. ha 


vidently been in the minds of several persons 
rho Ela agaay to' get it Vee oe hundred. dol- 
nee De but it was bid up to $1,5 

he other Innesses on nat night's cata- 
.ogue the first one put up (No. 196), Pool in 
he Woods,” a work of 1872, sold at $575. 
pet early one, eat Homestead— Me »ifield” 

), catalosue num 


211, went at pe GO, 
ee et 1890 a9) sold for $650, * 


‘ “Mf “The 
slow,” 1886 (221), at $850; “ Twilight, ” 1876 
o8t) at $1,600, and “September Afternoon,’ 
‘887 (240), at $1,500. “Autumn Tints,” 
(880, (245), went for $635, and “New 
fngland Valley,” 1878 (250), brought 


$2,050. The range went on to $2,700 for No, 
266, the ** Harvest Moon,” and $6, 100 for “* Phe 
Jlouded Sun” (1891). This price was manifestle, 
sentimental, asin the case of the “Lowery Day,” 
4 bidder raising every offer by $25. He refused 
to be affected by offers of another bidder, whe 
raised him bya fow, hundred ‘dollars at a time. 

George Fuller’s *“* Romany Girl” brought out 
good bids, and was sent up to $4,100. 

The total for the evening was. $61,220, 
which, added to thatof the two previcois even- 
ings, makes $165,815 paid for the paintings 
sofar. Yesterday afternoon’s sale of art obieets 

islded $16,350. With the $12,508. 50. of 

ednesday afternoon’s sale, this brings the 
totrl of the Clarke sale, to date, to $iv4, 733.50. 

An interesting incident of last evening was 
the sale -of-the first painting bought by Mr. 

Olarke. 19 

“apton’s “Brook Trout,” a notable contrast to 

te HoESSos with 


tite 
home later; It sold for $110. 


lection of art objects, at the galleries of 
the’ American Art Association. was of 
@~:darger interest than the ° first after- 
noon sale on Wednesday, and although the 
attendance, on account partly of the weather, 
was small, it was made up of people who came 
erapered to buy. The number of spectators, 

rawn by curiosity merely, was very small. A. 
spectator overlooking the pel at the stated 
time for beginning the sal e@ remarked to a 
‘skeptieal companion: “There are. buyers 
enough here to take twice asmany good things 
fas will be offered to-day.’ 

The result of the sale justified this off-hand 
remark. The prices ofthe day were good. It 
Was so acknowledged by diverse interests, 
aithough “no . one setup in argu- 
ment the palpable fact that a few of 
the offerings broughta price which represented 
jess the value of the object than the sentimen- 
tal interest of the buyer. The proceeds of the 

“afternoon were $16,350, as against $12,- 
B6S50 on Wednesday afternoon, and 
409 articles were sold as. against 164 
on Wednesday. So the two days’ total for brie- 
a-brae is $28,918.50. The prices of yester- 
Sday swere higher than some good judges 
had believed would be paid, in a num- 
ber of instances materially higher. Gne 
hundred aouars was nota rare figure for the 
opening bid. A curious phase of the sale was 
‘the numberof catalogue entries for which an 
i Unlimited bid had been sent in to the eager 
| purchaser’s representatives. On Wednesday 
rthis aspect had been remarked only in the 
buying of the eshields—of elephant and 
thinoceros. hide and so on—for which 
@ dealer “evidently had carte blanche, 
but yesterday a number of the porce- 
lains. and, potteries had evident! ly been 
marked tor possession by determined buyers. 
In other instances the buyers themselves were 
present to bid up the objects of their desire, 
The afternoon began favorably with the sale 
of a blue and white vase of the Kien -lu ig era 
(1736-95), 134 inches high, for $22.50. An 
earlier example of the Yung-ching era, a quar- 
ter of an inch taller, sold at $35, and a soft 
paste bottle, four inches dee of the Kang-he 
éra (1661-1722), went at $1 Yung-ching 
blue and white decorated gallipok witheracked 
surface (170 of the catalogue), brought $300. 
Kien-lung gilt bronze incense burner 
in relief work (189. of the: catalogue) 
brought $160. A jade vase four inches 
“talil,, inlaid .with rubies and. emeralds, 


0 of. the: catalogue, Wakeman Hol- | 


Pgold at 
| tary), 


a a eh ei Sn ng irene ete ohn 


“Willthl. Olid ERE Lilkveu bis | 


he afternoon sale of Mr. Clarke’s home eol- ; 


- confessed yesterday that he was wining 16 | 
-_ time to pay. more for, as he had fondled it often 


' brought the same amount, and a Yuan vase 


| 207. Witiant 
| 208, Georas W, Brenneman’s Ruerewn: 4. se 


— ase = 


|| 218, Chavtes H. Davis! s “Nightfall” gt 


ot 
ZG © “Youe ‘first vase sold 
7.50 ‘catalogue number 
iach eat an Nagai 
en-lun 
ottle, present Soe fhe es polos 
: melted snow,” of the same era, re 
and 2 :nehes in DeIED were le 
t $25 and $105. The first 
ealer: the buyer of the second 


nounced, 

A templ Feet Kang-he (2094 of» tie 
logue), ite t $310. Two hawthorn ginger 
ars of the sa a era, the eee on which was 
oe at $100, went at $540 each. OF be 
old Chinese porcelains, Petal | color, a 
gallipot of cream white yee paste wil 
eised ornamentation (216 of the eatalo 
25; a Wan-li (sixteenth 
eens -colored vase 
and its: companion at ‘ . 
apple-green crackled vase (221), ae la | 
é 4~inch bottle with imperial volta glaze iD Ls 
seal of Tao Kwang, 1821, which Mr. epur- | 
chased at the sa 6 of the Dana prey al 
$400. This little yellow vase, which 


when in possession of the former owner, and 
as he regarded it as one of the most perfect in 
eae he secured at the Dana sale for | 

No. 247 of the catalogue, a Kang-he bottle 
from the Brayton Ives sale, was bought by Mrs, | 
Wood for $800. A Ming vase in turquoise (268) | 


(2°71) $700. | 
The full list of the paintings sold last evening, 
with the prices and buyers’ names, except in a | 

few instances where the buyers’ names were 

withheld, is as follows: , 

187. George H. Smillie’s ‘Low Tide,” Baron 

"Rosenkranw is Pasa eo eee 

188, Winslow Homer’s “The Buccaneers: 

B®, D. Page. 

189. Robert F. Piocdwaidtn s * A Miss isasGood 

as a Mile; 8, BP. Avery, Wit. 


PE 


190. Wakeman Holberton’s “Brook. Trout: 3 
Baron Rosenkranz oek cw ee oe eee 
191. D. Jerome Elwell’s “ Breezy Day;?? J. 8: 
Bache. . 

192, ee Bh Harris’ at The Scouts,” “B. re 

runs 

1938. Worthington “Whittridge’ 3 
Evening;” 
194. Louis Moeller’s ‘ 


“ Summer 


‘News;”? M: H. aa 


| 
P| 
Ht 

i 
| 195, Francis C. Jones’s “ Won’t Play;’ T » Ae 
| j Sindelair. 5... sis. ssn weres ae BORE 

| 196. George Inness’s “Pool in the Woods; ce 

é a “Mansfield. ,..s.. 0. Nis ce ee 

f} 197. Ac Wyant’s' ** The Mountain Road;” 

k Ne A. Healy. J.) supe ee 
i 198. Ae eae! W. Maynard’s Bestel i) 5 Louis Ms 

rin yi 

ti 199. Times. *? Moonliahee Age Oe _Tckel- 
4 heimer . 

‘} 200. 3.° G, Tyler's. Rirst “American ‘Ship- 

fi wreck: Louis Stern...:.. : 

F FegOde Hower Martin’s a Headwaters. “of “the 

! Hudson;’’ H. McMillan,. a 

‘| 202. Bruce Crane’s ‘‘'The Water Gate; pr ors, 

||-203, Winslow Homer’s ‘f Rise to a- ig 
} Daniel Dain... as 176 
| | BQ4 Thomas W, Wood's Hig ‘Owe Rock ge 
iP _ F. Rockefeller, Cleveland, Onn Rae 
‘| 208, R.A. Blakélock’s © Entrance ee 

4 Forest;’’ E, McMillan... .,..-.s21.. “e 

i 206, Mee et Smedley’: a “Sight Bécing: AR 

~M. isten L pialp's WY a Relate esa ne Hae el ea nee me 


M. Chases “A Stone Yard;” Besy: 
Waltersy soc 0 0s ie a ie ee ena 130 


Seb wwe sen wee w ene eens sete hw ee ose we Air 


K E. McMillan o iaholstace latent blety sotataaeeana eet ean 
210. Winslow Homer’s “To the ewsus na 
I. Manson. 
211. Inness’s ‘Old. “from estead Medfield; 


Herman Schawus.ns 2 ik vee were Acie rota stele 
212. Lonis Moeller’s ‘‘Hello;? EB. H. Gary Fy 
213. Me pe M. Chase’s “Prospect Paik? Gai 


Bo Smithers (| Jee mis os waa te 
| | A a: Charles GC. Curran’s “ Wading in the Lily 
Pond??”.\3,) Si Bache desea vee mene 
215. William °H. Beard’s ‘**Hawv esdroppers” 
Peter Doel eet ici cui ie eee 


216. Homer Martin's “Wild Cherry. ‘Trees; I 
BK. Ickelheiment..).. .. over meee ee Frets, 

i 217. Charles C. Curran’s “A Happy F 

« Whitcomb. : 


& Co.. 


; ike Ft ae 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dis- 
pute arise between two or more Bidders, the Lot so in 
dispute shall be immediately put up again and re-sold. 


2. The Purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the Purchase- 
money 7/ required, in default of which the Lot or Lots so 


_ purchased to be immediately put up again and re-sold. 


3. The Lots to be taken away at the Buyer’s Expense 
and Risk upon the conclusion of the Sale, and the remainder 
of the Purchase-money to be absolutely paid or otherwise 
settled for to the satisfaction of the Auctioneer, on or before 
delivery ; in default of which the undersigned will not hold 
themselves responsible if the Lots be lost, stolen, damaged, 
or destroyed, but they will be left at the sole risk of the 
Purchaser. 


4. The sale of any article ts not to be set aside on account of 
any error in the description, or tmperfection, All articles are 
exposed for Public Exhibition one or more days, and are sold 
just as they are without recourse. 


5. To prevent inaccuracy in delivery and inconvenience 
in the settlement of the purchases, no Lot can, on any 
account, be removed during the sale. 


6. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited ; all 
Lots uncleared within two days from conclusion of sale 
shall be re-sold by public or private Sale, without further 
notice, and the deficiency (if any) attending such re-sale 
shall be made good by the defaulter at this Sale, together 
with all charges attending the same. This Condition is 
without prejudice to the right of the Auctioneer or Managers 
to enforce the contract made at this Sale, without such 
re-sale, if they think fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 
Tuomas. E. Kirsy, 


Auctioneer. 


Seip rN aE NR Gr EA en ra a TO ee en! aN oan Geer en 


Eden ecs, : 
ant’s y hian's ‘Land; re a 
ul “clause ce 

L met annat's a Smnuggiers ¥. ‘s: 
rab ke 


T. : i lace ee 


a 
cS Francis urphy’s. “Woods in Au- 
Sq PLUME Bi VLAMSHOG: wy casos ca ce eeesees 
28 Winslow Homer's ‘Visit ta the Mis- 
Me _ttess;? M. A. Lehman Aan. Solas 
 Inness’s “ Mwaliehts Blank. so. i. veee te 
orace Bonham’s ‘The Issfe of the 
oolong * Corcoran Art Gallery, Wash- 


= Gilbert Gaul’s **Wounded—To the Rear;’ 
CML Tiehman., 
arleton Wiggins’ 8 
“Scott Foster. . 

H. Siddons Mowbray’s “The ‘Last Fa- 
ay worite’;”? ‘IT, Av Lindler.. 

237, ‘George H. Smillie’s “Landscape, East- 
Hee i: Rampton ;’’ BE. G, Bruns.. 

to 38. L C. Tiffany’s ‘‘ View on the Hudson;’ 

i ; Baron Rosenkranz. .... 1.05 6.6.. eee en ees 
Ege Winslow Homer’s ‘‘Camp Fire;’’ A. Har- 


“6 Farvest Moon * 


ee ae i ie air ik ee oe ee ocak) 


CRE NC? ey AERC M laeie Lice faceee eas cae ies 
a O47, ‘Henty &. Poore’s 

PROREUM etre Oe UCU Se uean, 
Sonntag’s ‘A Sunlit Valley;” E. 
“oS REE NEE REDS ene HR iS ae es Sea 


Nace: ” Mrs, TL SChiusgelis. oy ec sacev's 
ba 244, Gs Sh anatase ‘“Moonlight;”’ 


Dee ee ee eee ee te we mee ere tm oe ee ee et oe Felt 


“ty 2 P Gieikis 
i re EUR Ru UVES Ole ss oui ct ery 
Sass, William M. Chase’s “Girl in Costume;’’ 
i eee IVE POM eee ey eee ey og hae 
AS 240. F.H, Church’s*‘In the Tropics;’’ T. 8. 
ia Van Yoikenberg poebieaeattpe ten on eink Sartore 
re 250, Inness’ s “New Hngland Valley;’’ Mrs. B. 
 “P. -Cheéeney. 

alist. Charles F. Ulrich’s “The Glassblowers;” 
Ais » LOHMAN... 6. ee kee ge eee seen 

. De We Tryon’ Ae cAabiniyisn ng Wat Oe eta 
‘Yes 253. B.C. Darbell’s “‘Amethyst;”’ F. Weston.. 
tee LS ea A: Coftin’s “Choppy Sea;’? Wal- 
Boze Charles c. Curran’s “‘Corner in a Barn- 
40 ere Oia ye SDOTTING 7, ela t oa's ei carecoe enna 
ae LW panesr s*‘Forenoon;” M. R. Sny- 


Ce a ORC eC ce ee a er 


i ee a ee ar ee ee a eee 


Ce a ee ee ee ed 


eC ee a ee eee oe eee ee ee eae Soe ay 


a. 
' these, ae ‘ Deaths’ 


ng 


ee eee ee era ae ee ee a) 


_ Agent;” : 
apiece’ 3 “Harvest MOOR oss sos e ok eeae 
20118 Moeller’s ** Puzzled; KE. Weston.. 
Leonard Ochtman’s “Moonlight Shad- 

Lows;’’ BE. MceMillan,. 


26 
Paes, 


(of pet 


3 pen Sohn ‘Lua Farge’s “‘Autumn;” A, A. Healy. 

Bik Oe vine Pauli’s “ Harvesting;” E. MeMil- 
1 de G Browns “Watching the Train;’* 
ML, BL Lehman. . 


Meaeonis et Mount Lafayette a : 


“Winslow Homer’s “Perils of the "Sea;”* 
SEL RAIA A OW Gd) Sots SLO hele wig de aioe G eee 


. W. Tryon’s “ Winter Brentngs (on Te 
” Freer PIAS, Bs llr ee pap EON ms al Ryo ae 


305 
2,050 


525 
760 $ 
200-4 
100 | 


] 
! 
i 
| 
! 
| 
if 
i 
) 


200 | 


10,150 | 


{GREATEST “PICTURE. SAT 

Ea evans. aoe ; 
NEARLY $250,000 “REALIZED a 
THE CLARKE COLLECTION, 


cess—Inness’s Malaware waiter | 
$8,100 and Winslow ~ ‘Homer's. frets Eight 
Bells’? $4,700— Vase Brings $8,000. 


The greatest picture sale, in some respects. 
that this country_has known, was concluded at 
Chickering Hall last evening, when Thomas E. | 
Kirby, for the American Art Association, sold - 
the last of Thomas B. Clarke’ 8 collection | of | 
American paintings, which numbered in all | 
372, the total of the prices paid during the four | 
nights’. auction being $234,495. ‘There have 
been sales that have brought more money, but | 
they have been principally of foreign paintings, | 
and Mr. Kirby, who has conducted most 
of them’ and seen: them all, is -author-_ 
ity for the statement that there never has | 
been, in his experience, another sale of a col- | 
lection of pictures here which paid | a profit. to. 
the collector, as the Clarke sale has done, with | 
the possible exception of a very much smaller j 
sale, that of Mr. Fuller’s paintings, held here not 
long ago. Mr. Fuller was not athand last even- 
ing. to verify the exception. Mr. Clarke was | 
abundantly .pleased with the appreciation | | 
shown of American art, to the support of which | | 
he had devoted himself for a quarter. of a 
century. He declines to admit that it required 
force of conviction or anything else but appre- 
ciation of good work. to buy the Tnnesses, | 
which have proved, perhaps, the most conspic- 
uous part of his collection, or the other notable | 
American works which have received the | 
praise of the critics recently and the support | 
of the purchasing public this week. Mr. | 
Clarke shared in the view expressed in THE 
Sun’s report. of the first evening’s sale that 
there never had been one like it in. the United | 
States, and that it indicated a hitherto almost 

( “unsuspected ‘appreciation of the best efforts of 
American artists, judged on their accomplish-— 
ments. f 
_ The ‘results of the sale completed. have tule 
i filled the indications of its beginning. New | 
prices have been set for works of artists rep- | 
resented, and buyers have shown a readiness 
and in some cases an eagerness to purchase, 
even if not always witha discrimination Sauek 
to that shown| by Mr. Clarke. 
The unprecedented price, for an. American 
painting at public sale, of $10,150 for the 


To the Managers of The American Art Association. 


Dear Sirs: 

Having determined to part with my 
paintings by American artists, and my 
private collection of art objects, as described 
in the Catalogues, Part I. and Part I1., 1 
place them with you to be sold at public 
auction on February 14, 15, 16, 17, and 
18, 1899. There ts no reservation whatever. 


THOMAS B. CLARKE. 


New York, February 2, 1899. 


ah 
tal 


372). 
an ‘The 


ig 

Metropolitan Museum of 
& ¢hase led: Mr. 
sitors: * 
\'to their permitting a painting, which, it ha 
3) been hoped would remain here, to go to Phila- 
3¢ delphia on. the evening before. 

5 night’s catalogue 


to and Be enerey, 


the . 
; More ancient. 
, prices indicated. a wider knowledge of porce- 


, tique glass was knocked 


other cities, 


total 


' (279) went to A. Augustus 
at. $10, and a four-inch pee es beautiful iri- 
; deseence (284) 
. tury aryballos, 2% inches he ne from Athens 


‘> biae glass, for $13 (28%), 


pat $2,000; 
1(351), which started at $1,000, at $2,500; the 


“Summer Foliage” (361), 1882, starting also at 
hee 000, is 32. 200: the “ Delaware Valley” (365), 

65, 100—the top pries of Innesses for 
tine ts ATEN “After Summer Shower” 


‘Tso4, at $2,500. 

“Delaware Valley’? was bought by the 
‘Art, and the: pur- 
Kirby ‘to remark to the specta- 
‘They’ve woke up!’ evidently referrin 


Others of the artists represented in last 
were well supported. 
Murphy’s.- ‘October ”’ , (37 went 

: Homer’s Hight Bells,”’ 
,,80 much. attention, 


on 
yon’s on une Home at Twi- 


ni Homer's Dawn Keone, Vall qian Ree % 
i for $3, 


“The. alee Gallery was a frequent bidder 
It was announced that the In- 
hursday evening, 


ness “Clouded Sun” sold,on T 


4 went to the Carnegie Art Gallery of Pittsburg 


‘The most important of the objects of art, Be 


a distinguished from paintings, in Mr. Clarke’s 


‘collection were sold yesterday afternoon at the 


hy American Art Galleries, and the sale presented 
|} some. peculiar contradictions. 
s Spects, considered piece by. piece, it was not 


In some re- 


more interesting than that of the after- 
‘noon before, but) in it were comprised 
‘more. costly productions, and. the 
Whereas on Thursday the 


1ains “haa most versons familiar with the pur- 
chasing, public would have guessed, those of 
yesterday showed that the buyers were in 
Many: instances nowhere near up to the 
knowledge and discrimination manifested 
by Mr. Clarke in his purchases. This 
applies not merely to. the general patronage, 
but to dealers, who. permitted the oppor- 
tunity to pass by. Piece after piece of an- 
down . yesterday 
afternoon at a price less than even less yalua- 
“Die pieces command at private sale in this and 
A: person of even a moderate 
degree of knowledge might have purchased 


a considerable number of the afternoon’s offer- 
- ings in'the assurance of being able to sell them 


witha PB retty profit at ordinary sale. Some of 
the articles in the patacon ue, on the other hand, 
brought good prices, while anumber wentaway 
up to unexpected figures that pleased every- 
body not under a mercenary handicap, whether 


4» their artistic judgment in every case justified 


the comparative “indicated value or not. The 
receipts of the afternoon speak for 
themselves, $38,021 for 164 catalogue num- 


‘bers, or an average of about $232.50 each. 


This sum is considerably in excess of twice the 


+, amountrealized on either of the preceding after- 


s88,""Gray, Lowery Day,’of Thursday even- | 
ioe ‘ale, fanciful as it was, Ber an Pe dana be that 


‘bore — fruits last evening. Its effects were 
leben when the first Innesses were put up, The 
¢" Italian Landscape” (280), a painting 0) 1875, 
yeold at. the. *' Passing Shower” (297), | 
7.08 » Boe at $875; “The Sun”: (311), 1886, 
vat $760;. “Brush Burning” (331), 1884. 
at $1,525; “Threatening” (341), 1891, 
sat = $200 “Winter Se sao aite 


A NET = 


noons, and brings the total for the bric-a-brac } 


so far sold to. $60,939.50, or to an average of 
above $1 


three afternoons. Ten of the offerings of yes- 


terday sold at $500 or better, and s f th 
= at, above $1,000 each: Ap leah 


The sale of the Greek and Roman glass 
opened at the discouraging prices of $11 and 
$20, respectively, for two Syrian amphora, one 
in yellow and one ‘in white, both with blue glass 


- handles, each 642 inches high. A smaller un- 


guntarium of yellow green glass from Syria 
ealy of Brooklyn 


brought $62, A fourth cen- 
(286), went for $42.50, and Mr. Healy took a 
smal! Syrian oinochoe, 2% inches tall, of 
An Egyptian ala- 
mantle of delicate orna- 
$30, and a double 


bastron with 
, mentation 


a, 
sold. at 


37 for every piece sold during the ! 


unguntarium, Syrian, 6 inches high, of green | 


ee 


ec logue, 
poi glass ura from § 


2d as 

‘alogus: 
| brought — 
‘sixth ‘centur 
-amphora. 
(362) of the fourth percent B.C 
epaulets 


date, Saar rollicking male. 


‘fourth century B.C., brought $6 
‘number of the catalogue, a Capuan crater, elas 


a similar 
ria ee une. 8B 


amiros, contr ies 
rand - “another Paes wT -of t 
eR Oe cen 
of m 
from the Colucci — collection. nay d| 
near Taranto, went 


S07. 


enting Ulysses. resisting Circe’s en- 
ag ae tier the Castellani. col chy 
00,, and. an~ Mea ee! of 61 
ures | eh | 


fifth century... joey os (@ 


sold at $3 


at $350, 


| with Sats and followers, represented. : 
‘black and 'red.(35 


59), sold at $37.50, an Etrurian 
amphora (349) at. $65, a et man lead 
panel (342), from a sarcophagus found in Syria, 
at $67.50, and a sixth century Greek amphora 
(358), black and red decoration with figures, 


t $50. 
. he many-colored Apulian pinphora (422), 
n 


the principal decoration rons oe the 
ing to the catalogue ascription, | a 
love of Dionysius and Ariadne, — 
on the reverse the apotheosis of Theseus, ie 
including fetta Shs | eighteen figures of go 
and heroes, sold at $1,550. No. 428, a Tana- 
grian woman and Eros, went at $460 nod ae 
other. terra cotta group (42 
third century. B. C., at $375. 
century: : female figure, 
a mask, catalogued as halia 
poe $725: a third century B.C 
epresented as about to end her life with the | 
ump of Lenease” (433). $625, and an an- 
tiaue marble statuette of Venus, nude (time of | 


fourth | 
holding 
(413A), 


A crater: 
“with. decora-_ 


9), two cupids, | 
S75. A Tourn | 


Sappho, — 


ni. | 


o), in the attitude of: arranging her hat, 


$02 35 (437 of the catlogue).’ 
The large Gere Di Monte vase (424) was bid | 

38. to $8,000. The. pine was started a 
a went immediately to $3,000, 

100, and on by 100 advances with- 
aud pei 
though this vase had been heralded as 
the most valuable single piece in the 
collection, it had not been the expectation 
that it would: go to such a figure. But the 
vase was wanted by several’ men, both of 
this city and elsewhere, and the _ bids 
were strong and full. t was finally 
bought in the name of Van Gelder, with 
a Waldorf-Astoria address, but it is to 
go to a collection outside of New York. So 
much may be said with certainty. Accord- 
ing to the general understanding among 
those. supposed to have pretty accurate 
knowledge at such. sales, the vase goes 
to one of the members. of the 
ener - Elkins syndicate of Philadelphia. 
This vase, it is understood, cost Mr. Clarke 
£660, or a little more than $3.200. One of the 
Farnese family treasures, it was at one time in | 
the Naples Museum, whenceit was transported, | 
after the Napoleonic conquest, to London by 
an agent who had been sent’ by the French | 
Government to procure it for the Louvre: 

‘The Awakening ” (434), a fourth century By 
C. Greek group representing a woman — 
be 


judgment is thé finest thing of its kind 4 to" 
found in this country, was sold to - Hari 
Parne Whitney for $5,600. It is 6 inche 
high and 10 inches wide. Mr. Whitney did not, 
getit without considerable lively competition, 
and he gave some of the same sort to pur= 
chasers of some of the other high-priced num- 
bers on the catalogue. ae 
Another group of the same century as the’ 
last (435), “* Asculapius and Hygeia Attending 
an Invalid,” was sent up to. $6,600 from 
a starting bid of $500, which was raised 
pron to $600, $1,000, $1, 100, $1,200, and 
is 1134 inches high. Mr. Whi hitney_ 

took ied small Greek statuette of the same 
fend ar representing a te a holding a gary 
and and wine vessel (432), a ae 
Among the buyers ponidesn Mr. Whitne ey anc ot 
the representative of the Philadelphinee and 


to the knoekdown price. Al- 


is- | 
turbed in sleep by Eros, which in: Mr, Clarke’s _ 


4,000 | 


ORDER OF SALE. 


UESDAY EVENING, FEBRUARY 14th, at CHICKERING HALL, 
_ Fifth Avenue and Eighteenth Street, beginning at 

8 o'clock, AMERICAN PAINTINGS, WATER COLORS, 
‘ bs AND BLACK AND WHITE Drawincs, Catalogue 
, aa iy Nos. 1 to 93; inclusive. 


q FLALL, ee at 8 o’clock, Mae niche PAINT- 
-INGS, WATER CoLors, AND BLACK AND WHITE 
Drawincs. Catalogue Nos. 94 to 186, inclusive. 


URSDAY EVENING, FEBRUARY 16th, at CHICKERING 

Be HALL, beginning at 8 o’clock, AMERICAN PaINT- 

-incs, Water Cotors, anp BLack AND WHITE 
_ Drawines. Catalogue Nos. 187 to 279, inclusive. 


. ees Deiining at 8 o'clock, ponelietna Sale of bare i 
_ ParintTiIncs, WATER Cotors, and BLAcK AND WHITE 
DRAWINGS. Catalogue Nos. 280 to 372, inclusive. 


CAN ART Beene Madison Bde South, be- 
ginning at 3.30 o'clock, Hispano-MAURESQUE 
PLAQuES, PERSIAN AND INDIAN ART. Catalogue 
Nos. 1 to 164, inclusive. 


_ THURSDAY AFTERNOON, FEBRUARY 16th, at THE AMERI- 
CAN ART GALLERIES, beginning at 3.30 o'clock, 
Me ee BLUE AND WHITE AND SINGLE CoLoR MINIATURE 
KL hae Vases of the Seventeenth and Eighteenth Cen- 
‘ turies; CABINET MINIATURE VASES in JADE, Ivory 


Pa Pe ak Alec ee A ee ee 


6 ORDER OF SALE. 


» AMETHYST, AGATE, ENAMEL, and METAL; LARGE 
BLUE AND WHITE VASES; OLD SINGLE COLOR 
CHINESE PORCELAIN VASES, and OLD CHINESE 
PoTTERY. Catalogue Nos. 165 to 273, inclusive. 


FRIDAY AFTERNOON, FEBRUARY 17th, at THE AMERI- 
can ART GALLERIES, beginning at 3.30 o'clock, 
ANTIQUE GREEK AND ROMAN GLASS, GREEK 
VASES, GREEK TERRA-COTTA STATUETTES AND 
Groups. Catalogue Nos. 274 to 437, inclusive. 


SATURDAY AFTERNOON, FEBRUARY 18th, at THE AMERI- 
cAN ART GALLERIES, beginning at 3.30 o'clock, 
Concluding Sale, German, Dutcu, ITatian, SPAN- 
ISH, RUSSIAN, FRENCH, AND CHINESE ART OBJECTS 
IN Brass, Copper, BRONZE, SILVER, IRON, AND 
PEWTER. Catalogue Nos. 438 to 560, inclusive. 


Boies 


( 


INTRODUCTION. 


WHEN the managers of the American Art Association 
requested me to write an introduction for the catalogue 
of the Thomas B, Clarke collection, I willingly complied. 
I feel that I know the pictures well, for I have seen most 
of them more or less often, and I know some of the most 
important ones by heart. It is a satisfaction to have this 
opportunity to say a few words about this exhibition and 
sale, for they constitute a great event in the art history of 
the United States, and we fully expect to see a great many 
of Mr. Clarke’s pictures sold for far higher prices, dollars 
being the only measure of value that we can apply on such 
an occasion, than have ever been paid for works by contem- 
porary American artists. 

The reason for this opinion is not far to seek. Mr. Clarke 
is widely known as a most intelligent and cultivated ama- 
teur. His acquaintance with his possessions is intimate, as 
that of many collectors is not, and he has acquired them 
because he liked them and wanted them. He was the 
first buyer of pictures to comprehend the merit and value 
of the work of our native school—principally, I should 
say, that painted in the past twenty-five years. In this 
large collection many pictures of earlier date will be 
found, but its reputation comes chiefly from Mr, Clarke’s 
support of the artists who were known in the latter part of 
the seventies as “The Younger Men.” Some of these are 
veterans now, of course. He was at the same time a great 
patron of Inness, Winslow Homer, and Wyant. He owns 


Pig Or «..: eae =. "sg eel SRI) ae 4 ME Ti st me ie neal , c . + mitra 4 A Se oe ee ee 
. ' : : re ; phat" ra . Vi 


* 


8 INTRODUCTION. 


some of their earlier works, as well as many of their latest 
and best ones. Asa matter of fact, almost all of the cele- 
brated Innesses, certainly the best of them, are in his col- 
lection. In looking over the catalogue the absence of 
some well-known names in American art may be noticed. 
As to that I can only repeat what Mr, Clarke himself 
says : that he never strove to make a collection fully rep- 
resentative of all phases and tendencies, but that he bought 
what appealed to him, and that it did not matter how many 
pictures by one man he might already have, if he saw. 
another one that he also liked he bought it, if he could. In 
this way his collection is a record of his discernment and of 
his consistent and constantly broadening good taste. 

What have been Mr. Clarke’s methods in collecting ? 
Let me relate, briefly, my first experience with him, I 
came to New York after five years in Paris, in the autumn 
of 1882, and settled down in the Sherwood in December. 
Some time in the next month, soon after the holidays, I re- 
ceived a visit from this patron, of whom I had heard. I 
had heard of his having bought pictures by Ulrich, Moeller, 
Brush, Volk, Tryon, Shirlaw, and others, who had preceded 
me by several years, and, of course, about his owning pict- 
ures by Inness, Winslow Homer, and Wyant, but I never 
dreamed that he would come to look upan unknown. Cer- 
tainly I was an unknown, for I had exhibited only one or 
two “early efforts” in New York. I was told that having had 
pictures in the Salon didn’t count, and that if one brought 
any over here one would have to sell them at auction in 
Nassau Street. So when Clarke came in I expected it to be 
merely a call of investigation. We had a bit of talk, and to 
make a long story short, he looked at a little figure picture 
I had sitting on my chimney piece, in a black frame, with 
the title printed in French on a tablet, said he liked that 
and—bought it! Then this genial, excellent gentleman 
went away, and after that, as the years passed, he used 
to write me pleasant notes, in his firm, straightforward 


INTRODUCTION. 9 


handwriting, saying: “ Mr. So-and-so is in town. Have 
you anything fresh and good?” As a consequence, he 
brought to my door at various times men whom he had 
personally interested in American art, and they bought pic- 
tures. Having found the way through him some of them 
came back again alone, and the results were appreciative 
friends and substantial encouragement. One Sunday I 
met him at one of the afternoon concerts of chamber music 
we used to have in St. Gaudens’s studio in Thirty-sixth 


Street, and I told him about a picture I had seen by Louis 


Moeller that I thought very good. ‘It’s so good,” I 
said, “that you ought to buy it.” “I have bought it,” 
he replied, “and it’s a gem.” Precisely the same thing 
happened to Inness. He was on the hanging committee at 
the Academy, and was greatly taken with a picture he had 
found a good place for on the walls. It was “The Deepen- 
ing Shadows,” by Charles H. Davis. Inness sought out 
Clarke and, using strong language of approval, told him 
about the picture and urged him to be on hand early at 
the “private view ” and buy it. ‘‘ Well,’ was the reply, 
“‘let’s go over to the club and get some lunch and 
talk it over.” This finished, the enterprising collector 
had his little joke, and told Inness that he had had an 
opportunity some time before to see the picture, and he 
thought it was very good, just as Inness did, but he had 
acted on his own judgment and had bought the picture 
before it was sent in tothe Academy. ‘Tableau! 

At that time he went around a great deal to the studios, 
and, as he says, he has seen the painters at work on nearly 
all the pictures he owns. As to his experiences with 
Inness, I have heard that he used to hurry away the pic- 
tures he bought, once the painter declared them finished, for 
it was ten to one if he left them twenty-four hours in the 
studio the remarkable artist who painted them, never satis- 
fied, filled with the desire to improve on what was already 
so good that it impressed the beholder as a masterpiece, 


ae) INTRODUCTION. 


would go to work on them again regardless of conse- 
quences and change a glowing sunset into some forbidding 
effect of storm, or make of some misty morning effect a 
sunny glare of midday. He did such things successfully 
sometimes, spoiling a fine picture to make a still finer one, 
but not always, and the watchful Clarke saved more than 
one great work to the world by his timely action. When you 
see his Innesses you will understand for the first time what 
a master painter he was. When you see the “ Eight Bells,” 
the “ Maine Coast,” “The Life Line,” the “ West Wind,” 
the ‘“ Carnival,’ and others of the thirty-one works by 
Winslow Homer, and his beautiful groups of Wyants and 
Tryons, you will realize that he has been a sympathetic as 
well as an enlightened collector. 

I hope Mr. Clarke will carry out in the exhibition a plan 
he has had in mind, and place in the large lower gallery a 
number of his thirty-nine landscapes by Inness on one side 
of the room, and on the other bring together some of the 
most important landscapes by other painters. With a group 
of Wyants, Tryons, and Picknell’s ‘‘ The Road to Concar- 
neau,”’ Homer Martin’s ‘ Adirondack Scenery,’’ Murphy’s 
“October,” Dewey’s “‘ Edge of the Forest,’’ Davis’s “ The 
Deepening Shadows,” and works by Kost, Richard Pauli, 
Crane, McEntee, Thomas Allen, Swain Gifford, and others, 
this gallery would make a presentation of American land- 
scape that would amaze the beholder and fill his soul with 
delight. I recall the pictures I have just mentioned 
with distinctness of impression, but Mr. Clarke has many 
more to choose from for this room, including works by 
such well-known painters of landscape as H. Bolton Jones, 
Robert C. Minor, Bliss Baker, Walter Clark, Blakelock, 
Carleton Wiggins, Dearth, Palmer, Horatio Walker, Ocht- 
man, Bristol, Whittredge, Sanford R, Gifford, F. E. Church, 
and Kensett. He has marines by Alexander Harrison, Sim- 
mons, and Boggs. I must make it plain, in speaking of 
these, that the ‘‘ Maine Coast,” by Winslow Homer, is a 


INTRODUCTION. II 


pure marine, without figures, and that it is a great master- 
piece. 

I can do little more than jot down the names of some of 
the most important pictures by our best painters of the 
figure. In the Clarke collection are George Fuller’s 
“Romany Girl,” Brush’s “The Aztec Sculptor” and 
“Mourning Her Brave,” Volk’s “ Accused of Witchcraft ” 
and the celebrated “ Puritan Girl,’’ Mowbray’s “The 
Evening Breeze,” “ Aladdin,” ‘“‘Schehera-Zade”’ and “ The 
Last Favorite ;’’ Louis Moeller’s ‘“ Puzzled” and “ Dis- 
agreement,” Ulrich’s “ Glassblowers’”’ and ‘‘An Amateur 
Etcher,” F. C. Jones’s “ Exchanging Confidences,” East- 
man Johnson’s “The New England Peddler’’ and “ The 
Pension Agent,” Millet’s “ Lacing Her Sandal,’ Pearce’s 
“Rivalry,” Alfred Kappes’s “Rent Day,’’ Dannat’s “A 
Smuggler,’ Curran’s “ Breezy Day,’’ Church’s “ The Surf 
Phantom,” A. P. Ryder’s “ Temple of the Mind,” Low’s 
““*Neath Apple Boughs,” J. G. Brown’s “A Merry Air and 
a Sad Heart,’’ Chase’s ‘‘ Coquette,” “ The Visitor,” and 
“The Model;’’ Bridgman’s “The Cadi’s Escort at Rest,” 
Blashfield’s ‘‘ Music,’’ Anschutz’s “ The Ironworkers’ Noon- 
time,’ Watrous’s “ Day Dreams,” Vedder’s “The Mistral,” 
Lippincott’s “In Hot Water,’ Hovenden’s “Chloe and 
Sam,” Freer’s “ Morning,” Dewing’s ‘ The Garden,” Robert 
Wylie’s ‘Fortune Teller of Brittany,” and heads or 
single figures by Thayer, Pearce, Wyatt Eaton, Henry 
O. Walker, Tarbell, Beckwith, Peale, Waldo, Sully, Gilbert 
Stuart, and others. There are historical works by Henry: 
Peters Gray, J. Beaufain Irving, and Benjamin West. 
There is a curious little picture, ‘‘The Issue of the Cock- 
pit,’ by Horace Bonham, the son of a Pennsylvania judge, 
and himself a lawyer, who gave up his practice for love of 
art, went abroad to study and returned to his home in 
York, in which quiet country town he painted years ago 
this and other works of interest. The Clarke collection 
is many sided, and shows that its owner was broad and 


12 INTRODUCTION, 


catholic in his purchases. I must not forget to mention 
the still-life by Alden Weir, Thayer, Bunker, and Carlsen ; 
nor the black and whites and water colors by Abbey, Gib- 
son, and Smedley. These names speak for themselves, for 
they are “leading lights.” In short, the collection gives 
an impression something like this: That Mr. Clarke, in- 
stead of buying for his own delectation, had been commis- 
sioned twenty-five or thirty years ago by some wealthy in- 
stitution to gather together for its galleries a collection 
which should show to its visitors the best works of 
many of the men who have brought fame and reputa- 
tion to the American School. It is as if this collection 
were about to be exhibited before its final housing in 
this supposititious museum, and our artists and amateurs 
were invited to come and give their verdict as to Mr. 
Clarke’s breadth of judgment and acuteness in seizing 
opportunities. There is no such institution, and the pic- 
tures will be scattered, but we may at least hope that some 
of them will go to public museums, and that the rest will 
find owners who will value them as Mr. Clarke did, and 
who will-share our opinion that no such comprehensive, 
personal, and worthy collection of American art has ever 
before been placed within their reach. 

The objects of art include Greek vases, statuettes, and 
iridescent glass ; Hispano-Mauresque, Indian, and Persian 
plaques; antique Chinese porcelains and curios, and French, 
Russian, Dutch, Spanish, and Oriental metals, plaques, 
and vases. I may specially mention a collection of most 
beautiful Greek vases dating from about 600 B.C. to 200 
A.D.; the famous statuettes of “‘ Esculapius and Hygea ” and 
“The Kneeling Muse,” and the renowned Farnese family 
piece, a vase in black and red, found at Apulia in1786. It 
is about 3 feet 6 inches in height, and is one of the finest 
specimens ever brought to light. Then there is the an- 
tique statuette, “Venus Arranging Her Headdress ” (en- 
graved in the De Charmiac Musée de Sculpture), belonging 


INTRODUCTION. 13 


to the period of Nero. It was presented to the Empress 
Josephine by the King of Naples, and kept by her for 
many years in her palace at Malmaison. She afterwards 
gave it to Count Pourtalés, and it was sold in his collection 
at Paris in 1865. The Chinese porcelains form the key- 
note of the collection of objects of art, and are dear to the 
heart of their owner. It would be impossible to imagine 
anything finer. Most important, too, are the lustrous 
Hispano-Mauresque plaques and the Persian, Indian, and 
Turkish pieces. 

These are but insufficient and incomplete notes, but they 
will serve, I trust, to give some idea of the great excel- 
lence, breadth, and distinguished merit of the collections. 

Mr. Thomas Benedict Clarke, a consistent and enthusi- 
astic advocate of the native school of painting, has pur- 
sued a career of usefulness and meritorious achievement 
that is quite unique. Now that his collections are to be 
dispersed it is but just to pay a tribute to his taste, dis- 
cernment, and fidelity to his convictions, 

Let me close by quoting a passage from Mr. Andrew Car- 
negie’s leading article in the World’s Fair Souvenir number 
of The Engineering Magazine, New York, January, 1894, 
entitled, ‘Its Value to the American People.’”’ In speak- 
ing of the art department, and the splendid showing of the 
American School, he says, referring to the pictures lent by 
Mr. Clarke: “I did not know any one connected with the 
entire exhibition who can more truly be considered a public 
benefactor than this artistic gentleman, who has evidently 
for many years had faith in the genius of his countrymen, 
and has quietly purchased their works as these came forth,” 
There it is in a nutshell. 


WILLIAM A. COFFIN. 
New York, January, 1899. 


Si 


lade Valens 
COT MAING 


aN 


BIOGRAPHICAL NOTES AND INDEX. 


ABBEY (EDWIN A.), A.R.A. 


The career of Edwin A. Abbey is one of the most interesting that 
is chronicled among modern artists. He was born at Philadel- 
phia, in 1852, and studied for a time at the Academy of Fine Arts in 
that city. In 1871, he came to the Harper’s, and by the side of the 
late Charles H. Reinhart he drew for the illustrated publications of 
that house. This training was of great value to him, for it ac- 
customed him to the making of compositions of all kinds on the 
shortest notice. For some years he kept at the drudgery of, more 
| or less, hack work, until he began to feel his way to more important 
efforts, and a series of pen drawings for the old poems of Herrick 
and other English poets suddenly brought him into prominence. 
The success of these was so great that he finally went to England 
to gather fresh material for subsequent pictures. Finding the 
place congenial, he settled there, and a series of Shakspeare was 
the next noteworthy achievement. After this he took up seriously 
color work, his pastels gaining him much favor, while departures 
into oil were no less successful. Contributions to the Royal 
Academy followed, with some historical pictures, and then came 
the commission for the Boston Public Library, for a frieze, the sub- 
ject of which he chose from ‘‘ The History of the Holy Grail.” When 
the first part of this was completed it was exhibited, and Mr. 
Abbey attained greater prominence. His election to an Asso- 
ciateship in the Royal Academy followed, an honor reserved 
for few of his countrymen. When the ‘‘ Holy Grail” arrived in 
this country, the verdict was no less enthusiastic than that across 
the water, and its being put in place only increased the public 
admiration for its intelligent conception and artistic working out. 
His work in the medium of water color has been highly successful, 
and his pictures are in many prominent collections, There was 
exhibited here, last winter, an important composition called ‘‘ The 
Play Scene from Hamlet,” and his pen-and-ink work has reached 
about the top notch of achievements in that medium. Mr. Abbey 


16 


THE CLARKE COLLECTION. 


lives at Fairford, England, where he has a country house and a 


large studio, in which he works on his decorative canvases. He 
makes frequent visits to the United States. 


8—Candlemas Eve, 
58—Autumn, 


. 1o1—Misleading the Enemy. 
. 113—TLhe Admonition. 

. 286—Ode to Spring. 

. 294—Farmer’s Daughter. 

. 344—Picking Apple Blossoms. 


ALEXANDER (HENRY), deceased. 


No. 


Born at San Francisco, Cal., in 1860, he perfected his art, after 
the usual preliminary study at home, by seven years of work at 
Munich, where he was a pupil of Professors Lindenschmidt and 
Loeffts. It was in Munich that his first public exhibit was made, 
in 1879. Upon his return to this country he made his appearance 
in our own exhibitions, always with credit to himself. His picture, 
‘* The Capmaker,” at the National Academy exhibition, drew mer- 
ited attention to him. Mr. Alexander afterward devoted himself 
largely to portraiture, and has had in his studio as sitters some 
of the most distinguished men and women of California. Asa 
genre painter he produced little, but all that he did in this vein is 
distinguished by originality and pleasing character of subject, fidel- 
ity to nature, just characterization, good color, and sound artistic 
style. Mr, Alexander died in New York city in 1895. 


301—TZhe Capmaker. 


ALLEN (THomas), A.N.A. 


At a time when we are beginning to discuss American art as repre- 
sentative of American nature, and not merely for its technical 
perfection, the labors of Thomas Allen commend themselves to 
special attention. His pictures are native in spirit and in sub- 
ject, and in his transcriptions of nature he never loses the delicate 
sensibility of the artist in the technical dexterity of the painter. 
As a painter he is a naturalist of the refined type, a lover of the 


BIOGRAPHICAL NOTES AND INDEX. 17 


brighter side of nature, and in his art one of her most sympathetic 
translators. He paints cattle and landscape with equal skill, and 
is at his best in his combinations of the two. He comes from the 
best of New England stock, though he was born at St. Louis in 
1849. Thomas Allen developed his artistic bent in his boy- 
hood, and may be considered to have begun his career as a student 
with Professor Pattison, of St. Louis. In company with the pro- 
fessor he visited Colorado, and upon his return could show by his 
voluminous pencil sketches the paths he had wandered over. He 
went to Dusseldorf in 1871, and entered the Royal Academy there, 
under Professor Ducker, in 1872, going through the various classes 
and graduating in 1878. He then studied several years in Paris. 
He first exhibited in the National Academy of Design in 1876, and 
figured also in the Salons of 1882 and 1887. In 1884 he was made 
a member of the Society of American Artists, and an Associate 
of the National Academy. He is a trustee of the Boston Museum 
of Fine Arts, vice-president of the Boston Art Club, and one of 
the best-known collectors of ceramics in America. His first dis- 
play in New England was made at Williams & Everett’s galleries 
in 1883, and from that date he has enjoyed the respect and 
esteem of ail those who have made his acquaintance. He resides 
in Boston. 


No. 275—Maplehurst at Noon. 


ANSCHUTZ (THOMAS P.). 


The exhibition, in New York city, of a picture called ‘‘ The Iron- 
workers’ Noontime,” gave a new name its place of note in Ameri- 
can art. The picture was shown at the American Art Galleries in 
Madison Square. The owner was then, as now, Mr. Thomas B. 
Clarke. The art critics exhausted their vocabulary in praise of this 
work, which deserved all the commendation it received. It has 
been admirably engraved on wood and published as a representative 
American art work of the year in one of our leading illustrated 
journals. The artist, Thomas P. Anschutz, is a native of Ken- 
tucky. Hewas born in 1851, of a family of German origin, re- 
lated by ties of distant kinship to the great Munich painter, Pro- 
fessor Herman Anschutz. He grounded himself in his art at the 
Pennsylvania Academy of Fine Arts, and formed one of the 
remarkable group of pupils whom Thomas Eakins developed. 
The sterling quality of his art has made him one of the most 


2 


18 THE CLARKE COLLECTION. 


competent of instructors, as well as a subject painter of power. He 
has his studio in Philadelphia, and is connected with the schools of 
the Pennsylvania Academy. 


No. 56—Zhe l[ronworkers’ Noontime, 


BAKER (ALFRED Z.). 


In the spring exhibition of 1893, at the National Academy of 
Design, hanging in the corridor, was a picture which, by reason 
of its composition and technique, attracted considerable attention. 
It was signed ‘‘A. Z. Baker,” and the artist resided in Baltimore. 
The title was ‘‘ The God of Silence.” The note was a new one, 
and it made a striking feature on the walls. The artist has fol- 
lowed up this exvoz with other works of interest. 


No. 146—TZhe God of Silence. 


BAKER (WILLIAM BLISS), deceased. 


American art experienced a loss not easy to repair in the death of 
William Bliss Baker, in 1889. During a few years of original pro- 
ductiveness this young artist had rapidly ascended to the head of 
his profession, and taken a permanent place among the landscape 
painters of the day. Born at New York, in 1859, a pupil of 
Albert Bierstadt, M. F. H. De Haas, and of the National Academy 
of Design, he was, above all, a graduate of the great school of 
nature. No reflection of his artist instructors was visible in his 
productions. He possessed, in an eminent degree, the very un- 
common ability to elaborate detail and to render minute and subtle 
effects with close finish, while yet preserving in his pictures the 
breadth and dignity of the largest facts. His landscapes are 
true character studies, in which varieties of vegetation and the 
varying influences of light and weather are identified with amaz- 
ing skill. He first exhibited at the National Academy, in 1879, and 
in 1889 took one of the Hallgarten prizes. In 1889, in the enjoy- 
ment of a flood-tide of success such as rarely comes to an artist not 
of mature years, he went to his summer studio, at Ballston, New 
York, never to return. His death occurred there in the month of 
November, and was the result of a cold contracted in the course of 
his outdoor studies, 


No. 348—Silence. 


ent 


BIOGRAPHICAL NOTES AND INDEX, 19 


BEACH (Emma B.). 


Among the gifted women whom the art movement in the United 
States has brought into prominence in our exhibitions is Emma B. 
Beach, of Peekskill, N. Y. At the exhibition of the Society of 
American Artists in New York city in 1890, her studies of flowers 
commanded commendation. Toa subject hackneyed by countless 
brushes she brought an original sentiment and expressiveness. 
Her eye is true to nature, her color just, and her touch accurate. 
The feminine refinement of her works detracts in nothing from 
their freedom and force. 


No. 21—Anemones. 


BEARD (WILLIAM _H.), N.A. 


The successful combination of satirist and painter is not a com- 
mon one. Usually the spirit of satire overcomes that of the 
painter, reducing his art to the level of mere caricature, or the 
serious, technical requirements of the painter overbalance the 
lighter quality of the thinker. In William H. Beard we have one 
of these rare survivals of the great age of Dutch painting, when 
satire and art went hand in hand. A painter of the figure, of 
portrait, genre, cattle, and landscape, it will be by his sly and pointed 
assaults on human weaknesses and follies, through the medium of 
the brute creation, that his status will be settled for the future. 
Mr. Beard comes by his artistic development upon a basis that 
would delight the believers in the theory of heredity. The whole 
Beard family has an artistic turn. The name has been prolific of 
painters and draughtsmen. His elder brother, James H. Beard, was 
an artist of wide repute. Mr. Beard himself is a native of Paines- 
ville, Ohio. He was born in 1825, and, under the encouragement 
of his mother, a woman of enlightenment and sympathetic nature, 
he took to drawing in early childhood, his first models being the 
family dog and cat and their puppies and kittens. His instruc- 
tion in painting, beyond such as he could impart to himself, seems 
to have consisted only of a few lessons from his elder brother, who 
was then settled in New York, after which he set up his easel in 
Buffalo, where his brush secured him sufficient support to enable 
him to visit Europe in 1857. He painted at Dusseldorf, sketched 


20 THE CLARKE COLLECTION, 


in Switzerland, Italy, and France, and in 1860 returned to make his 
permanent settlement in New York. He was elected a National 
Academician in 1862. 


No. 215—An Lavesdropper. 


BECKWITH (J. CARROLL), N.A. 


At the spring exhibition of the National Academy of Design in 
1881, one of the less pretentious pictures was one which secured 
a large share of the attention of the visitors. It was the head of 
a beautiful young woman resting, dead, on a bier, with a smile of 
ineffable peace upon her face. The painter of ‘‘ The Christian 
Martyr’”’ was James Carroll Beckwith, born at Hannibal, Missouri, 
in 1852, and a pupil of the Paris Ecole des Beaux-Arts and of Pro- 
fessor Yvon and Carolus Duran, who had first appeared in the 
Salon of 1877. In succeeding exhibitions in this country Mr. 
Beckwith displayed some strong and life-like works in portraiture, 
showing himself particularly happy in the rendition of the dignified 
type of feminine beauty. It is asa painter of women that the artist 
has won his highest distinction, though his portraits of men are 
many and excellent, and it is to be remarked of his productions 
that he renders the most refined and delicate traits of his sitters 
without sacrifice of their tenderness, and with a thoroughly mas- 
culine vigor of handling and strength of color. Mr. Beckwith, 
who has his studio in New York, is a member of the Society of 
American Artists and of the National Academy of Design. 


No. 55—Vivian. 


BIRNEY (WILLIAM VERPLANCK). 


Born at Cincinnati, Ohio, in 1858, William V. Birney was, from 
1876 to 1879, one of the most promising students under Mr. Walter 
Smith, at the Massachusetts Normal Art School. He next spent 
a year at the Pennsylvania Academy of Fine Arts, where he en- 
joyed the instructions of Thomas Eakins, and during four years, 
from 1880, painted at the Munich Academy, where he had Pro- 
fessors Lindenschmidt and Benezur for masters. In 1881 he re- 
ceived an Honorable Mention for his school work, and in 1883 
made his first public appearance at the International Exhibition 
held in the Bavarian art capital in that year. Upon his return to 


BIOGRAPHICAL NOTES AND INDEX. 2I 


America, after a time spent in travel through the country, he set- 
tled in New York, where his subjects of domestic genre, and espe- 
cially those in which children figured, speedily secured attention 
for him. His pictures are characterized by thoroughly human 
sympathy with the episodes of home life, cheerful sentiment and 
color, and conscientiousness of execution. 


No. 148—A Doll’s Concert. 


BLAKELOCK (RALPH ALBERT). | 


The career of Ralph Albert Blakelock will find record among the 
romances of American art. The son of a physician, born at New 
York city, in 1847, he was destined for his father’s profession, but 
his native predilection for art and music rebelled. Deprived of 
the means of securing instruction either as painter or musician, he 
became his own master. Throughout his life the sister arts, to 
which he consecrated himself, have been allied. A short tour of 
the far West constituted the chief preparation of Mr. Blakelock for 
his life’s work. Its results are encounters in his landscapes with 
Indian groups, and episodes as accessories—pictures vibrant with a 
strange and penetrating charm of chromatic harmonies. His color 
is as original and positive as the theories which his art illustrates, 
and the individuality of the man impresses itself upon every mani- 
festation of his art. Mr. Blakelock’s studio is in New York. 


No. 9—Wayfarers at Eventide. 
No. 175—Zhe Encampment. 

No. 205—£nitrance of the Forest. 
No. 244—Moonlght. 

No. 288—Wear Cloverdale. 


BLASHFIELD (Epwin H.), N.A. 


The school of Léon Bonnat has sent back to America many grad- 
uates of distinction. One of the most notable of these is E. H. 
Blashfield. A New Yorker, by virtue of birth in this city, on 
Christmas day, 1848, Mr. Blashfield completed his artistic educa- 
tion by eleven years’ residence, study, and experience in Paris, 
whither he went in 1867. He signalized his return to his native 
land by works of a historical character, two of which, ‘* The Minute 


22 


THE CLARKE COLLECTION, 


'Men,” and the picture showing residents of Boston viewing the 


battle of Bunker Hill from their housetops, will be remembered. 
It was in the direction of decorative, art, however, that his sympa- 
thies tended, and in this field he achieved his pronounced successes. 
Whether in easel pictures or in larger works destined for mural 
adornment, his talent, characterized by grace of form, purity of 
color, and a scholarly conception and inventiveness, makes its most 
brilliant mark. In 1882 Mr. Blashfield’s art won him the election 
to an Associateship of the National Academy of Design, of which 
he became a full member in 1888. He is also a member of the 
Society of American Artists. During recent years his easel pictures 
have become more and more rare, as his time has become occupied 
with decorative compositions for public buildings and great man- 
sions. His recent decorative work includes a ceiling for the ball- 
room of the Waldorf-Astoria Hotel, the collar of the dome and 
ceiling of the lantern in the Congressional Library at Washington, 
a bank at Pittsburgh, and ceilings and panels in private houses in 
New York and Philadelphia, His studio is in New York. 


No. 222—Music. 


BLOODGOOD (ROBERT F.). 


Born in New York, R. F. Bloodgood became at an early age a 
student at the National Academy schools, whence he emigrated 
to the classes of the Art Students’ League. He first became known 
as a painter of marine episodes in water colors, and has produced 
some effective plates as an etcher. He isa member of the New 
York Etching Club, and has his studio in New York, 


No. 189—A Miss is as Good as a Mile. 


BLUM (ROBERT), N.A. 


One of the conspicuous figures brought forward in our artistic cir- 
cles by the advancement of the art of graphic illustration created 
by the enterprise of the magazines of this country, was that of a 
young Cincinnatian, Robert Blum by name. Among many gifted 
draughtsmen of the day, his brilliant and bold touch, his dashing 
spirit, and vividness of execution made him foremost. Born in 
1857, he has made his own career. He had already become an 
artist of positive individuality, and had exhibited his work in New 


BIOGRAPHICAL NOTES AND INDEX. 23 


York in 1879, at the American Water Color Society, before he 
went abroad. In all that he did a keen appreciation of charac- 
ter and local color, and a grasp of the vitality of his topic were 
evident. His travels in Europe, which began in 1880, and which 
have included Italy, Spain, France, and the Netherlands at vari- 
ous periods since, have been rich in productions of oil and water 
colors of the first order. Mr. Blum has made a tour of Japan, 
with noteworthy artistic results. While devoting the greater por- 
tion of his time to his easel, he still continues to contribute to 
our periodicals works in the black and white medium in which 
he scored his original success. His studio is in New York, 
although he paints much in Europe, particularly in Holland and 
in Venice. Heis a member of the Society of American Artists, a 
National Academician, and was one of the enterprising and pro- 
gressive group of artists who organized the Pastel Club. Of late 
years Mr. Blum has given great attention to decorative work, and 
two friezes for the walls of the Mendelssohn Glee Club of this city 
have been among noteworthy achievements in American art. 


No. 144—Zoledo Water Carrier. 


BOGGS (FRANK M.). 


Born at Springfield, Ohio, in 1855, F. M. Boggs became first known 
as the painter of some of the most effective scenery ever set on the 
New York stage. From the paint gallery of the theatre, Mr. 
Boggs passed to the Ecole des Beaux-Arts in Paris, and became a 
pupil of Géréme. His natural drift was to out-of-door effects, 
however, and while he prosecuted his studies of the figure he 
steadily developed his talent as a marine painter and as a painter 
of the grandiose subjects afforded by the picturesque and splendid 
architecture of the older cities of Europe. In 1880 he made his 
first appearance at the Salon. The French Government, always 
alert in its appreciation of new abilities, became one of his ear- 
liest patrons, acquiring, in 1881 and 1882, two of his paintings 
for the State collections. When he commenced exhibiting in 
America his success was immediate, and at the first prize exhibi- 
tion at the American Art Galleries in New York in 1885, his 
dashing marine, ‘‘ A Rough Day at Honfleur,” was one of the four 
pictures selected for purchase by the committee upon awards. It 
now forms part of the collection of the Museum of Fine Arts at 


24 THE CLARKE COLLECTION. 


Boston. Mr. Boggs maintains his studio in Paris, with occasional 
visits to, and sojourns in, the United States. He has received medals 
and indorsements from many European exhibitions. 


No. 308—On the Coast of France. 


BOLMER (M. DE ForREsT). 


Born at Yonkers, N. Y. In his youth Mr. Bolmer showed an in- 
clination for landscape art. He studied in Paris in 1887, and again 
in Munich in 1890. A student of nature, he prefers her quiet 
moods, and his most successful canvases have told of the fading 
light of day. He has exhibited in the National Academy of Design 
for a score of years past. His studio is in New York, 


No. 72—Faling Shadows. 


BONHAM (HORACE), deceased. 


Mr. Bonham was born at West Manchester, Pa., in 1835. The 
son of a distinguished jurist, Judge Samuel C. Bonham, he pre- 
pared for the practice of the law and was admitted to the bar; 
but his inclination for art led him to Paris, where he studied under 
Bonnat, and later continued his studies at Munich. His principal 
works have been painted in his native county, and his genre 
pictures have gained him much renown whenever shown in the 
exhibitions of this country. Mr. Bonham died in 1892. 


No. 232—TZhe Issue of the Cockpit. 


BOUGHTON (GEORGE H.), N.A., R.A. 


Although of English birth, this country claims George H. Bough- 
ton as an American artist, and on good grounds. Born near Nor- 
wich, England, in 1834, he was brought here by his parents when 
a child of three years. The family settled in Albany, N. Y., and | 
there the little boy began, self-taught, to draw and paint. His 
early efforts secured him sufficient local support to enable him 
to visit Europe in 1853, and he brought back from a tour of Scot- 
land, Ireland, and the Lake Country pictures which added to his 
circle of admirers and supporters. His early works were land- 


BIOGRAPHICAL NOTES AND INDEX. 25 


scapes, and to this day he shows in this field a close sympathy with 
nature and masterly skill in interpreting it. While subsisting by 
landscape painting, he devoted a portion of his time to the study 
of the figure, and in 1858, when he settled in New York, he had 
already produced some creditable genre works, chiefly of incidents 
of child life. In 1860 he went to Paris, where he enjoyed the 
friendship and advice of Edouard Frére, and the following year 
settled in London, where he still remains. His first public hit in 
England was made at the Royal Academy in 1863, and since that 
date his career there has been one of uninterrupted success. 
An amiable personality made him socially popular, as well as 
artistically notable. In 1871 he was elected a member of the 
National Academy of Design, and in 1879 became an Associate 
of the Royal Academy, becoming a Royal Academician nine 
years later. It is to be noted of Mr. Boughton that, while 
he has lived long abroad and found the amplest support from 
English collectors, he has turned his eyes for his most suc- 
cessful subjects to the land of his early childhood. His 
pictures illustrating the primitive days of the American colonies 
are without rivals, and, while he paints English life and nature 
with character and justice, he, even after the lapse of years, con- 
tinues, in his American subjects, to delineate our native landscape 
and our people with accuracy. The result of his self-instruction 
reveals itself in his pictures in an absolute individuality of style. 
Boughton has, independent of his labors at the easel, won merited 
distinction by literary productions, in which his pen repeats the 
fine touch of his pencil and his brush. He writes as he paints, 
without affectation, with delicate but forcible strokes. 


No. 34—On the Surrey Road. 


BRENNEMAN (GEORGE W.). 


Born in New York, in 1856, of German parentage, George W. 
Brenneman, after instruction in drawing from a private tutor, 
was entered in the antique school at Munich. Working his way 
up through the antique and life classes, he became a pupil of 
Professor Dietz, and after five or six years of constant applica- 
tion to his art, returned to New York, where he now resides. 
He is a painter of genre, and his most successful works have 
been cabinet pieces, rich in color and executed with fine deli- 
cacy of detail. His earlier exhibited works betrayed his Munich 


26 THE CLARKE COLLECTION. 


schooling very strongly, but with his return to the United States, 
he began developing the individuality of style and thought which 
now distinguishes him. A man of modest personality, thoroughly 
devoted to his art, he has never figured among our contestants for 
public honors, His careful and painstaking method of production, 
restricting as it does the number of his pictures, has rendered them 
rarities ; and their passage from his easel to the collections of our 
amateurs renders their appearance uncommon in our public exhi- 
bitions. 


No. 208—felics. 


BRIDGMAN (FREDERICK A.), N.A, 


The American Bank Note Company of New York was the first art 
school of Frederick A. Bridgman. He was born at Tuskegee, 
Ala., in 1847, and brought, as a boy, by his familyto Brooklyn, 
where they became residents. Employed by day as an engraver 
for the bank note company, he learned what he could of draw- 
ing by evening study at the school of the Brooklyn Art Asso- 
ciation. In 1866 he went to Paris, where he had J. L. Géréme 
for a master, and his first exhibited works were subjects drawn from 
his sketching tours in France and in the Pyrenees. His first pict- 
ure to make a decided impression was ‘‘ The American Circus in 
France,” and he followed this up with subjects found in North 
Africa and the Nile region, such as ‘‘ The Burial of a Mummy,” 
and ‘‘ The Procession of the Bull Apis,” by which he became 
widely and favorably known to European critics. Establishing 
his studio in Paris, he refreshed his art by frequent excursions to 
southern Europe, and later to Algiers, which he has found a pro- 
lific field. In 1890 he made a visit to America, and exhibited 
a collection of pictures, studies, and sketches, which was one 
of the art sensations of the year. The variety and high stand- 
ard of excellence of this collection, and the invariable spirit and 
vital energy which characterized its technique, made a profound 
impression such as the exhibition of single works by the artist 
could not have produced. The display furnished, in fact, the key 
to the distinguished consideration which he has long enjoyed 
abroad, where France claims him as almost one of her own artists. 
Since 1878, Mr. Bridgman has been a member of the Legion 
of Honor. He has been since 1874 a member of the Nationa] 
Academy, where he began to exhibit in 1871, and he is one of 


BIOGRAPHICAL NOTES AND INDEX. 27 


the original members of the Society of American Artists. He has 
written a book upon Algiers which is worthy in style and interest 
of the illustrations which he has giventoit. Although most famil- 
iar to the public as a painter of modern Oriental life, Mr. Bridgman 
has produced works of merit upon historical and mythological sub- 
jects, and scenes of life in Brittany, where he spent a portion of his 
early years of European study. He is also a well-known painter 
of portraits. 


No. 35—lVormandy Cottage. 
No. 219—TZhe Cadi’s Escort at Rest. 


BRISTOL (J. B.), N.A. 


Mr. Bristol was born at Hillsdale, N. Y., in 1826, and was entirely 
self-taught. Elected an Associate of the National Academy in 1861, 
he was made an Academician in 1875, and is a member of the 
Artists’ Fund Society. He has always confined his work to land- 
scape, in which he occupies an important position. In 1876 Mr. 
Bristol received a medal of honor at Philadelphia. He contributes 
regularly to the chief art displays of this country, and his paintings 
of the landscape of New England are to be found in many of the 
private art collections in the large cities, 


No. 314—lVew England Scenery, 


BROWN (J. G.), N.A. 


Among what we now know as the older school of American painters, 
the most prominent individuality is that of J. G. Brown. Heisa 
veteran in whom still burns the fire of youth. Years seem rather 
to refine and strengthen than enfeeble his hand, and his artistic 
vision rests unimpaired by the lapse of time. The creator of his 
own style, it remains superior to the changes of popular taste and 
of artistic fashion, because it reflects the temperament of the artist, 
Strong in its unflagging vitality, as if it had conquered the secret 
of perpetual youth. Yet Mr. Brown counts his years at more than 
three score. He was born at Durham, England, in 1831, and 
began to dabble in colors so early that at the age of nine, as it is 
recorded, he painted portraits of his mother and sister. After 
some study in the government art school at Newcastle-upon-Tyne, 
he entered for a year at the Edinburgh Royal Academy, where he 


28 


No. 


THE CLARKE COLLECTION, 


teok a prize in 1853. From Edinburgh he journeyed to London, 


did a little portrait painting, and voyaged over seas to the United 
States. He opened his first studio in Brooklyn, as a portrait 
painter, in 1856, and in 1860, when George H. Boughton gave up 
his studio in New York, Mr. Brown became its tenant, and made 
his initial exhibit at the National Academy, of which, in 1862, he 
became an associate, and in 1863 a member. In the National 
Academy, the Artists’ Fund Society, and the American Water 
Color Society, he has held the highest offices, and he has been the 
recipient of many honors at American and European exhibitions. 
His art is absolutely faithful to the soil. It has been truly said of 
him that his character studies of American town and country 
types, treated as they are with the utmost truth to nature, form 
an invaluable addition to the history of the generation from which 
the artist won his fortune and the place of distinction which he 
worthily occupies. 


20—A Longshoreman. 


No. 182—A Merry Air and a Sad Fleart. 
No. 272—Watching the Train. 


BRUSH (GEORGE DE FOREST), A.N.A. 


It has been held by some of our older artists that the crying evil of 
European education for the American painter is the extent to which 
it denationalizes him. These critics point, and with a certain 
measure of justice, to the instances of men of vigorous native talent 
who, after completing their schooling abroad, settle down, not as 
American painters, but as painters of European subjects, in the 
European manner, and animated by the European spirit. Against 
Mr. Brush this charge cannot be made. Born at Shelbyville, 
Tenn., in 1855, and after a preliminary course at the National 
Academy of Design, crossing the ocean to become a pupil of 
Gérome, he is nothing if not American in the substance and the 
spirit of his art. He finds in the aboriginal American heroic 
themes for his pencil, and he treats his heroes in the same lofty 
and poetic mood as has made the written descriptions of the Indian 
race by James Fenimore Cooper immortal. His exhibit in 1883 
of the magnificent tragedy of Indian life called ‘‘ Mourning Her 
Brave,” sounded the keynote of his art, and with each succeeding 
production of his easel the impression created by this work has 


—— 


BIOGRAPHICAL NOTES AND INDEX. 29 


been more and more firmly fixed. Of late years he has entered 
upon a sort of classical period in his art, painting with a fine sense 
of color and composition a series of pictures with such titles as 
*“Mother and Child,” in which, to beautiful characterization, he 
joins a ripe and skilful technical style. Mr. Brush has his studio 
in New York. He is a member of the Society of American Artists 
and an Associate of the National Academy of Design. 


No. 66—Mourning Her Brave. 
No. 315—An Aztec Sculptor. 


BUNKER (DENNIS M.), deceased. 


The career of an artist from whom much was expected was ter 
minated by the death of D. M. Bunker, on December 28, 1890. 
Mr. Bunker was a native of the city of New York, born in 1861, 
who had enjoyed an excellent schooling abroad, and had made his 
appearance in our exhibitions with immediate success upon his 
return to his native city in 1884. He had passed through the 
National Academy schools here ; had painted in the life classes of 
the Art Students’ League, and had worked in the Julian Academy 
and under Hébert, and Géréme in Paris. In 1888, he made another 
European trip, returning to remain in this country. Commencing 
as a landscape painter in oil and water colors, Mr. Bunker had 
developed himself into an admirable painter of the figure. In 
1885, he received the third Hallgarten prize at the National 
Academy of Design, for his picture called ‘‘ Bohemia,” and in 1890, 
his picture ‘‘ The Mirror,” a single female figure painted with 
refined skill, created a lively impression at the exhibition of the 
Society of American Artists, and was awarded, at the Chicago Art 
Institute, the James W. Ellsworth prize of $300, as being the best 
picture by a living American artist in the exhibition. It now be- 
longs to the Philadelphia Art Club, He was employed in Boston 
for some years as chief instructor at an art school, and after a brief 
sojourn in New York returned to New England, where he had 
found much appreciation and encouragement, and many commis- 
sions. 


No. 106—A Neglected Corner. 
No. 171—/n Blossom-time. 


30 


THE CLARKE COLLECTION. 


BUTLER (GEORGE B.), N.A. 


No. 


The first success gained by George B. Butler was as a painter of 
animals. His representations of the domestic brute creation were 
in a vein of true portraiture, full of character and expression, and in 
the delineation of the wilder and more savage species he exhibited 
the same sympathy with their ferocious spirit and beauty that one 
notes in the lions and tigers of Eugéne Delacroix. It was, however, 
as a figure painter that Mr. Butler grounded his career, and of recent 
years he has returned to this department of art and produced a 
number of striking portraits. A native of New York, of a family 
of wealth and social prominence, he commenced to paint under the 
instruction of the late Thomas Hicks. From Hicks’s studio he 
passed, in 1859, to that of ,Thomas Couture, in Paris, under whom 
his first master had himself been a student. The outbreak of our 
civil war interrupted his studies, and he returned to the United 
States and entered the army as a volunteer. A man of powerful 
physique and absolutely fearless nature, he proved a valuable offi- 


_cer. After passing through the fiercest actions unscathed, he 


was finally disabled by a wound which cost him his right arm. 
Happily, he had been, from childhood, accustomed to the use of 
his left hand, and his misfortune did not incapacitate him for the 
labors of his art. He painted in New York and in San Francisco 
until 1875, when he again went abroad, joining the artist colony on 
the island of Capri. Some five years ago he returned to America 
and reéstablished his studio in New York, where he has executed a 
number of commissions for portraits of prominent public men and 
people of social note. Mr. Butler has been a National Academician 
since 1873. 


60— Bothered. 


No. 346—fuss at Rest. 


CARLSEN (EmMIL). 


The artistic atmosphere of Boston has nourished a number of 
painters of consideration in American art. One of these, Emil 
Carlsen, for some years won commendation at exhibitions through- 
out the country by studies of still-life, which extended his reputa- 
tion far beyond the precincts of the city of his residence, even 
before his personality was known out of his special circle. He is 
by birth a Dane, who came to America in 1872, as a young man of 
24 years. He settled in Boston, where his talent found a clientéle 


BIOGRAPHICAL NOTES AND INDEX, 31 


of admirers, and remained there some fifteen years, strengthening 
and perfecting his art by diligent experiment and study. His can- 
vases displayed clear, rich color, harmony of tone, and transparent 
brilliancy of effect, and the freedom and breadth of their treatment 
demonstrated the artist’s mastery of his medium and his tools. 
After a visit to Europe, which had its result in the ripening and 
rounding out of his art, he returned to America, and now has a 
studio in New York. 


No. 30—Stl/-iife. 


CARR (LYELL). 


One result of the impressionistic movement in French art has been 
to exercise an influence in directing the talents of some of the most 
gifted American students in the Paris schools. Only too many of 
these fall into the practice of pure imitativeness, and are but shad- 
ows of the French originals ; but in a few instances, men have been 
wise enough to understand the underlying truth of the impression- 
istic theory, and to adapt it to their own ideas and sympathies. 
Conspicuous among theseis Lyell Carr, born at Chicago in 1857, 
and now a resident of New York. In Paris Mr. Carr painted under 
such masters at Lefebvre and Boulanger, studying also at the Ecole 
des Beaux-Arts, and in the Suisse and Julian academies. His first 
pictures were exhibited in Chicago. They were simple in subject, 
largely composed of rural scenes, good in character, and truly ren- 
dered. Meanwhile, the painter was battling with those problems 
of light and air by which his later works are distinguished, and he 
overcame the difficulties of his experiments with signal success, 
Seeking his subjects in nature, out of doors, and in all weather, 
he invests them with a subtle spell of familiar fact which renders 
simple subjects dignified, securing the legitimate results which the 
sincere impressionists seek, without sacrifice of his personal method 
of thought or of his personal style of expression. 


No, 153—A4 Ride Home at Sunset. 


CASILEAR (J. W.), N.A., deceased. 


Born at New York, June 25, 1811; died in 1893. Landscape 
painter ; studied in Europe in 1840 and in 1857. Elected an As- 
sociate of the National Academy in 1835, and Academician in 1851. 


No. 170—Sunset. 


32 


THE CLARKE COLLECTION. 


CHAPMAN (CARLTON T.). 


Mr. Chapman, coming to New York from his native town in New 
London, Ohio, began his art studies at the schools of the National 
Academy of Design and continued them at the Art Students’ League. 
From there he went to Paris, where he entered the Ecole des Beaux- 
Arts and enjoyed the criticism of J. L. Géréme. He was also in 


the atelier of Benjamin-Constant. On his return to this city he 


took naturally to marine work, several of his compositions attracting 
immediate attention. He was soon made a member of the Society 
of American Artists, the New York Water Color Club, and the 
American Water Color Society. He also became identified with 
the New York Etching Club, for in this medium he is expert. 
Illustration work for the magazines gave him a standing in this 
branch, and when the recent war with Spain broke out, he accom- 
panied the naval forces to the front as one of the representatives 
of Harper's Weekly. Wis pictures of the battles before Santiago, 
both with his brush and pen, were among the noteworthy literary 


and artistic contributions of the campaign. His work was officially « 


recognized at the World’s Fair in Chicago, where he was awarded 
a medal, and in Boston, in 1892, he was similarly honored. Among 
important work done by Mr. Chapman is a series of pictures of the 
naval engagements of the war of 1812 wherein he has depicted the 
victories of the American over the British ships and reproduced 
with historical fidelity the evolutions and manner of fighting of 
those days, and presented with authority everything relating to the 
construction and equipment of the men of war. Mr. Chapman’s 
studio is in New York. 


No. 264—The Lighthouse. 


CHASE (WILLIAM M.), N.A. 


The future will judge William M. Chase from two standpoints : as 
a painter and as a moving force in our art. In the former quality 
he stands at the head of the technicians of America. He is a past 
master in the resources of his craft. His restless and ambitious 
nature has impelled him to experiment in every possible direction, 
and one is called upon to recognize him as a painter in oils and 
in water colors, as a pastelist, as a draughtsman in every sort of 


Se ge 


a ae! 


BIOGRAPHICAL NOTES AND INDEX. 33 


medium, and as a forceful original etcher. Throughout these 
varied manifestations of his astonishing versatility and skill, his 
individuality is preserved. His eye is acutely sensitive to the 
appeals of nature, his hand responds to the impressions of his eye 
with sympathetic fidelity. Mr. Chase isa native of Franklin, Ind., 
where he was born in 1849. He was a pupil of B. F. Hayes, of 


- Indianapolis, and for a time a portrait and still-life painter in the 


West. After some study in New York, at the National Academy 
schools, and under J. O. Eaton, he, in 1872, entered the Royal 
Academy at Munich. Alexander Wagner and Carl von Piloty were 
his masters, and they gave his art a firm technical foundation, 
although he has never shown himself an imitator of either. He 
has, at different times, sought for material in various sections of 
Europe, and studied the masters in England, France, Spain, Italy, 
and Holland, but his most extensive and significant work has been 
accomplished in and about New York. His studio in the Tenth 
Street studio building was a museum of rare, precious, and artis- 
tically beautiful objects, collected upon his travels, and from it he 
has sent forth many talented pupils upon independent careers. As 
an instructor at the Art Students’ League, of New York, and later 
in his own academy, Mr. Chase has rendered valuable service to 
our art. He is a National Academician and a member of the 
Society of American Artists and of the American Water Color 
Society. 


No. 2—A Visttor. 

No. 49—A Coquette. 

No. 99—Zhe Model, 

No. 207—A _ Svtoneyard. 
No, 213—Prospect Park. 
No. 248—Girl in Costume. 
No. 290— Weary. 


CHURCH (FREDERICK E.), N.A. 


The most famous picture in America in its day was ‘‘ The Heart of 
the Andes,” painted by Frederick E. Church, after his second visit 
to South America in 1859. The artist’s ‘‘ Niagara,” which almost 
equalled it in the furor which it created, is now in the Corcoran 


3 


34 


THE CLARKE COLLECTION. 


No. 
No. 


Gallery in Washington. The painter had struck a new note in the 
landscape art of the Western Continent. His impulse to this de- 
parture was not without explanation. Born at Hartford, Conn., in 
1826, Mr. Church had become a pupil of Thomas Cole, an artist 
whose grandeur of ideas rose superior to the deficiencies of his meth- 
ods and the unconquerable drawbacks of his laborious life. The pupil 
remained with his master until the death of the latter. Then he 


began his travels with the influence and the inspirations of the 


dead painter alive within him. He made his first studies in New 
England, and in 1849 opened a studio in New York and became a 
National Academician. In 1853 he made a voyage to South Amer- 
ica, and in 1857 another. The result of these was a series of gran- 
diose representations of the stupendous nature of the greater trop- 
ics, which, coming to us at a time when little was known of those 
regions, exercised a readier influence in furthéring the artist’s repu- 
tation. A voyage to Labrador resulted in his picture ‘‘ Icebergs,” 
which made him known to London in 1863, and in 1866 he made a 
voyage to the West Indies and executed subjects of his travels. 
Europe and Asia next claimed his wandering feet, and his brush 
celebrated with equal success the mouldered splendors of Greece 
and Palestine, of Athens and Jerusalem. In all of these produc- 
tions the artist combined a majestic composition with great splen- 
dor of color and fine poetic feeling, and his success in England 
almost rivalled that which he enjoyed in America. With advanc- 
ing years travel, which had formerly been a pleasure, became a 
necessity to him, and his winters were spent commonly in the 
tropics and in Mexico. His industry continued, and to his pano- 
ramas of South America and the Orient he has added equally 
splendid, if less vast, records of the luxuriant nature of Central 
America and the Antilles. Of his many leading works, a number 
are widely known through engravings. This is especially the case 
with ‘‘ The Heart of the Andes” and ‘‘ Niagara,” of which a re- 
cent traveller remarked that he had encountered them making a 
girdle in the artist’s honor quite around the world. Although pri- 
vate collections are rich in Mr. Church’s works, they are rarely seen 
in public. The earlier examples have long since been absorbed 
into the collections of America and England, and his later works 
passed from his easel to private ownership without finding their 
way to the annual exhibitions. 


87—Mediterranean Sea. 
249—n the Tropics. 


I eS SS ae 


BIOGRAPHICAL NOTES AND INDEX. 35 


ERA rt ES.), "NA. 


A talent as original as has been produced by the art of the Western 
Continent is that of Frederick S. Church, From the time when he 
began contributing to the periodical press those sketches in which 
the most commonplace topic was lightened by a touch of drollery, 


_his individuality made its impression. He was known to popu- 


No. 


larity through these productions of his pencil before the graceful 
and delicate conceits of his brush brightened our exhibition galler- 
ies. The thorough originality of Mr. Church as an artist is the 
result of his independence of any personal influence in his training. 
He was born at Grand Rapids, Mich., in 1842, and was engaged 
in business until he found himself irresistibly moved to the adop- 
tion of his present career. He obtained the foundation of his 
knowledge in the schools of the Chicago Academy and the National 
Academy of New York, but it was by the use of nature as his model 
that he really formed himself. His theory and practice of color 
were of equally independent creation. Out of these elements, and 
by an industry that was as incessant as his courage was indomita- 
ble, Mr. Church built himself up. First known as a draughtsman 
and painter of animals, he later became recognized among the 
painters of fanciful idyllic subjects. Asan etcher his reputation 
is also high. He has been a member of the National Academy of 
Design since 1885, and is a member of the American Water Color 
Society and of the New York Etching Club. 


31—A Surf Phantom. 


CLARK (WALTER), A.N.A. 


Born at Brooklyn, in 1848, Walter Clark became a student of the 
National Academy of Design, under Professor Wilmarth, and of 
the Art Students’ League of New York. He has almost entirely 
devoted himself to landscape painting, finding his most congenial 
subjects in the vicinity of New York, New Jersey, on Long Island, 
and in western New England. His studio is in New York, and 
he is a member of the Society of American Artists and an Associate 
of the National Academy of Design. Mr. Clark’s advance in his 
profession has been rapid, and his recent pictures have placed him 
in the front rank of native landscape artists. 


No. 247—Sunset. 


36 


THE CLARKE COLLECTION, 


COFFIN (WILLIAM A.), A.N.A. 


When William A. Coffin returned from Paris, where, subsequent 
to his graduation at Yale, in 1874, and a year’s study afterward in 
the University’s Art School, he had been painting five years under 
Léon Bonnat, he was known to visitors to the Salon, where he 
commenced to exhibit in 1879, as a painter of subject pictures. 
During the summer of 1891 he made his reappearance in Paris, 
at the American exhibition in the Durand-Ruel Galleries, as a 
painter of landscape. No transformation could be more complete ; 
but it marks the studious and self-developing character of the artist 
learning the tendency of his sympathies and cultivating the field 
in which he finds the richest harvest of gratification. Mr. Coffin 
was born at Allegheny, Pa., in 1855, and is to this day claimed by 
Pittsburgh as one of her special group of artists, in proud rivalry 
to the city across theriver. After leaving the Bonnat School he 
established his studio in New York and became a regular contributor 
to the American exhibitions. He is an active and energetic member 
of the Society of American Artists, and an Associate of the National 
Academy of Design. Apart from his professional identity, he is 
widely known as a writer upon art subjects of admirable discretion 
and justice with a polished style, and as a lecturer of clear and fluent 
diction, logical argument, and authoritative experience. In 1886 
he secured the second Hallgarten prize, at the Academy, with a 
landscape entitled ‘‘ Moonlight in Harvest.” The Webb prize for 
landscape, at the Society of American Artists, was awarded to him, 
in 1891, for his picture, ‘‘ The Rain,” now in the permanent collec- 
tion of the Metropolitan Museum. He received a bronze medal at 
the Paris Exposition of 188g for his ‘‘ Early Moonrise,” and the 
gold medal of the Art Club of Philadelphia, in 1898, for a large 
and imposing composition, ‘‘ Sunset in the Somerset Valley, Penn- 
sylvania.” It is in this picturesque region of hills and mountains 
that Mr. Coffin has his summer studio, and thither, also, he jour- 
neys sometimes in winter to paint effects of ice and snow. 


No. 68—A/fter Breakfast. 
No. 157— Sunrise in January. 
No. 254—Choppy Sea. 


COLMAN (SAMUEL), N.A. 


Although Mr. Colman, who was born at Portland, Me., in 1833, 
is one of the older American painters, he has been identified all 


BIOGRAPHICAL NOTES AND INDEX. 37 


through his career with the latest developments in an esthetic 
way. He has kept his art young and fresh, and through all his 
work may be discovered qualities of earnest, serious searching. 
His early training was self-acquired, but he had made such advances 
that, at twenty-seven years of age, he was elected an Associate of 
the National Academy of Design. In this year, 1860, he went 

abroad for a two years’ course of study in Paris and Spain. On his 
return he was made a full Academician, and, in 1866, he was 
elected first President of the American Water Color Society, of 
which he was one of the founders. This position he held for five 
successive terms, and when the Society of American Artists was 
founded in 1878, he became one of the charter members. In his 
earlier years he painted much Hudson River and Lake George 
scenery, and the results of his travels abroad were seen in pictures 
sent from most of the countries of Europe, Italy appealing to him 
strongly. Mr. Colman possesses always to an unusual degree, an 
attractive sense of the pictorial. His subjects are invariably well 
chosen, while his notions of tone are of the best, for his palette 
is rich and harmonious, and his color possesses much sentiment. 
His manner of painting is quite personal ; his appreciation of nature 
is broad and catholic and, backed by a strong intellectuality, the 
results of his brush have been almost invariably satisfactory. 
Through the mutations of American art, Mr. Colman has kept in 
the forefront, and his work stands for all that is healthy, logical, 
and progressive. 


No. 76—<Autumn. 
No. 145—Southern Italy. 
No. 209—Valley in Mexico. 


COX (KENYON). 


Born at Warren, Ohio, in 1856, Kenyon Cox commenced the study 
of art in Cincinnati, continued it at the Pennsylvania Academy of 
Fine Arts, and concluded it in the studios of Carolus-Duran and 
J. L. Géréme, in Paris. His sojourn in Europe extended from 
1877 to 1882, when he came back and settled in New York. Since 
his return Mr. Cox has been actively engaged as a teacher, a 
painter, and in literary work, dealing with artistic topics. He is 
a student of nature, thoroughly in touch with the open-air school 
of the modern realists, and much public attention has been attracted 


THE CLARKE COLLECTION. 


to him by his studio pictures. These consist, in the main, of stud- 
ies of the nude in its most luxuriantly graceful female form, which 
he executes with subtle mastery of drawing, brilliant purity of color, 
and a large but adequately complete execution. A man of culture 
and of extensive classical reading, Mr. Cox invests these composi- 
tions with an invariable allegorical significance, and besides his 
easel pictures he has executed some noteworthy decorative composi- 
tions. His portraits possess a vital character, and in his out-door 
work, nature, especially in her summer moods, finds remarkably 
vivid translation at his hands. He has provided a number of 
illustrations for the higher periodicals, and embellished several of 
those artistic publications which have been created to meet the 
popular taste for editions de luxe. He is an active member and 
officer in the Society of American Artists. Of late years Mr. Cox 
has been given many commissions for important decorations, in- 
cluding work for Bowdoin College and the Congressional Library 
at Washington. 


No. 63—A Su Day. 


CRANE (Bruce), A.N.A. 


Among the new names in the catalogue of the National Academy 
of Design in the spring of 1878 was that of Bruce Crane. Mr. 
Crane made his debut asa landscape painter from the studio of 
A. H. Wyant. During the year that witnessed his appearance at 
the National Academy, he went abroad, painting for several years, 
principally in France, under influences friendly to the development 
of his art. In 1882 he returned to New York, and set up his easel 
here. His pictures, which evidenced a lively sympathy with nature 
and a delicate appreciation of color and picturesque effect, were 
executed with a free and ready brush, and gained him a place of 
marked consideration among the progressive spirits constituting the 
Society of American Artists, of which he became a member in 1881. 
Mr. Crane is a regular contributor to the various art exhibitions 
of the country. 


No. 202—7Zhe Water Gate. 
No. 339—A/feernoon Light. 


BIOGRAPHICAL NOTES AND INDEX. 39 


CREIFELDS (RICHARD). 


Born in New York city some forty years since, Richard Creifelds 
commenced to attract attention with pictures sent from abroad, 
where at the Munich Academy, under Professors Barth and Wag- 
ner, he had won his school medals and secured his position as an 
artist. His productions were mainly cabinet pieces, of genre sub- 
jects, treated with careful finish, and rich in harmony of tone and 
color. After some years spent in Brooklyn upon his return, he re- 
moved his studio to New York, where he now abides. In por- 
traiture, as in his genre subjects, Mr. Creifelds has secured the 
approbation of eminent critics and the support of discriminating 
connoisseurs. One of his recent works to attract attention is a 
| large altar piece, painted upon commission for the Church of St. 
Andrew, in Harlem. In this picture, which represents the meet- 
ing of Christ and St. Andrew, the artist gives token that his long 
devotion to his small and elaborate compositions has not narrowed 
his vision or enfeebled his hand for the largest and boldest work. 
The composition is one of the noteworthy pieces of mural decora- 
tion that have been produced in the United States. 


No. 257—Adsorbed. 


CURRAN (CHARLES C.), A.N.A. 


Making his entry at the National Academy of Design in the spring 
of 1883 so modestly as to escape critical attention, in 1888 Charles 
C. Curran secured the third Hallgarten prize with his picture, 
‘* A Breezy Day,” and gained with it admission into the Academy 
asan Associate. The same year he became a member of the Society 
of American Artists. A native of Kentucky, born in 1861, he 
began his studies at the Cincinnati School of Design. In 1881 he 
came to New York, where he fortified his art at the Academy of 
Design and at the Art Students’ League. A diligent student and 
a careful executant, with a keen eye and a fine touch, he found his 
best method of expression in pictures of the cabinet size. The 
subjects chosen by him were of familiar modern genre, and he 
soon, through them, enrolled himself among the brilliant cluster of 
our younger artists who have worked with such rich results in this 
delightful field. While his indoor effects are marked by strong 
effect and color, he displays in his open-air subjects, in which 
figures are shown in a landscape setting, a remarkable rendition of 


AOp uc THE CLARKE COLLECTION. 


the breeziness and brightness of nature, with a delicate adjustment 
of values and firm and substantial quality in his figure painting. 
Mr. Curran, after painting and continuing his studies in Paris for 
two years, returned to America in the spring of 1891, and during 
the following summer had his studio at Norwalk, Ohio. His winter 
studio is in New York. 


No. 1—Lady in Purple. 

No. 69—Guirl Reading. 

No. 154—Breezy Day. 

No. 214— Wading in the Lily Pond. 
No, 217—A Happy Family. 

No, 255—7Zhe Corner of a Barnyard. 
No. 336—Zhe Wreck. 


DAINGERFIELD (ELLIOTT). 


In 1880 a young Virginian of twenty-one years, from Harpers 
Ferry, came to New York to study art, and during the same year 
made his first exhibit at the National Academy. He worked in 
water colors and in oil, confining himself to simple subjects, and 
building up his method out of study and experiment upon the 
basis of nature. To the discreet eye, the sincere feeling and 
growing force of his work were full of a promise which the artist 
has amply fulfilled. He has recently developed a productiveness 
of a high order of sentiment and feeling, with forcible and har- 
monious color, and an original and decided technique. His pic- 
tures possess the poetic quality in an eminent degree. Mr, Dain- 
gerfield’s studio is in New York. 


No. 65—Women Working in the Field, 
No. 258—Moonlighi. 


DANA (W. P. W,), N.A. 


A member of the National Academy of Design since 1863, w. P. 
W. Dana is, however, less familiarly known to the American public 
than to that of Paris. He has been established in his studio there 
for a number of years. Mr. Dana is a native of Boston, born in 
1833, and was one of the strong group of his townsmen who formed 


, 


BIOGRAPHICAL NOTES AND INDEX, 41 


the most conspicuous portion of the American art colony in France 
in the fifties. It was in 1852 that he went first to Paris. There 
he entered the Ecole des Beaux-Arts, and also studied under Picot, 
then a popular master, and Le Poitevin. His continuous drawing of 
the figure still reveals the influence of this schooling. He turned 
his attention to marine subjects early in his independent career as 
an artist, painting principally French coast scenes, enlivened with 
fishing boats and fisher-folk, but giving also some attention to 
American historical marines, of which his ‘‘ Chase of the Frigate 
Constitution’ is a sterling example. As a contributor to the Salon 
he was accepted by Parisian criticism as a painter of technical 
mastery and personal force, and the approbation with which he 
was received induced him to fix his residence upon the scene of his 
first triumph, where he enjoys consideration as a representative 
American, as well as a representative of the art of America. He 
made a return visit to this country in 1862, but after his admission 
into the National Academy, again found his way to Paris. He 
received his first Salon medal in 1878, and has been since re- 
peatedly honored at continental exhibitions. While adhering to 
his chosen line of subjects, Mr. Dana has also produced many 
excellent portraits, and has been notably successful in groups of 
children, horses, and dogs. 


No. 79—ishing Boat. 


DANNAT (WILLIAM T.). 


The distinction of being the only American to hold a professorship 
in a great art school of France is sufficient to demonstrate the 
critical esteem in which Mr. Dannat is held in the city of his 
adoption. It is the more notable that he should receive this signal 
recognition, since he actually began his art studies in Munich, 
under German masters. He was born at New York city, in 1853, 
of an old family, which was possessed of ample means. The 
talent which he displayed in childhood was carefully fostered by 
them, and in his early youth he was sent abroad to obtain the 
greater educational advantages not then available at home. In 
spite of his opportunities for trifling with his talent, he proved 
himself a resolute and diligent student, winning the honors of the 
Munich Academy, and receiving the approval of Munkacsy, under 
whom he afterwards worked. Extensive wanderings in Italy and 


42 


THE CLARKE COLLECTION. 


Spain gave his mind its bent towards that character of subjects 
through which his chief and lasting credit has been acquired. It was 
by his Spanish pictures that he commenced to be particularly noted 
when he settled in Paris, where his studio is now located, and at 
the Salon exhibitions, since 1883, he has been a regular and suc- 
cessful exhibitor. His crowning triumph was secured by his pict- 
ure of a group of Spanish strollers, holding a rude concert in a 
wayside inn, which bears the title, ‘‘ A Quartette.” This superb 
work, which has been extensively reproduced, is now in the Metro- 
politan Museum of Art in New York, to which collection it was 
presented by the mother of the artist. In its powerful drawing, 
strong color, vigorous handling, and fidelity to nature, one may 
discover the qualities which have gained the painter his post of 
honor in the French art world. Mr. Dannat has paid but one 
visit to America since the beginning of his European studies, but 
he remains one of the most active and influential members of the 
American art colony in Paris. 


No. 226—A Smuggler. 


DAVIS (CHARLES H.). 


At the Third Prize Fund Exhibition, at the American Art Galler- 
ies, in New York, in 1887, the prize of $2,000 was awarded toa 
landscape entitled ‘‘ Late Afternoon.” The artist was Charles H. 
Davis. The picture was allotted to the Union League Club of 
New York, in whose collection it now occupies a conspicuous 
place. At the Exposition of 1890, in Chicago, another of the 
artist’s works secured the prize of $500, donated by Mr. and 
Mrs. Potter Palmer, for the best landscape. Two exhibitions 
of the painter’s pictures in New York further introduced 
him to his public and confirmed his footing. Mr. Davis is a 
native of Amesbury, Mass., born in 1856, and at twenty years of 
age began exhibiting pictures in Boston, where he had received 
instruction at the Museum of Art, under Professor Grundman. 
He went to Paris in due time, and commenced to qualify himself 
as a painter of the figure, with Boulanger and Lefebvre for 
masters. His summer studies out of doors aroused in him the 
latent love of nature in her rural and pastoral aspects, however, and 
he finally discarded his original selection and devoted himself 


BIOGRAPHICAL NOTES AND INDEX. 43 


entirely to landscape painting. Working upon a capital of skill 
acquired from the study of the figure, and being independent of 
the influence of any school or master of landscape painting, he 
created within himself that simple and charming style which renders 
his works so captivating. They are pervaded by a tender, poetic 
feeling, genuine in sentiment, without any of the weaknesses of 
sentimentality, and are executed with a hand whose strength is 
veiled by the subtle completeness to which it carries its work. 


No. 14—Sunset on the Moor. 

No, 181—TZhe Deepening Shadows. 
No, 218—WMighZall 

No. 353—A Connecticut Valley. 


DEARTH (HEnNry G.). 


The advent of Henry G. Dearth in our exhibitions was auspicious. 
Born at Bristol, R. I., in 1863, he studied at the Ecole des Beaux- 
Arts in Paris, and under Aimé Morot, Luc-Olivier Merson, and 
Raphael Colin. He painted landscape by preference, and his can- 
vases were characterized by a quiet and unostentatious simplicity 
that had the quality of growing in personal interest. In his French 
subjects, and in his pictures of our own scenery, he displays a fine 
feeling for local color and character and a vein of sentiment at once 
tender and profound. Mr. Dearth began exhibiting at the New 
York exhibitions in 1888. Heisa member of the Society of Ameri- 
can Artists and is at present residing at Les Andelys, in Nor- 
mandy. 


No. 263—Lvening. 


DECKER (JOSEPH). 


Born in Wiirtemburg in 1853, Mr. Decker came to the United 
States in 1867, and was apprenticed to a house painter. He 
utilized his evenings for study in the schools of the National 
Academy of Design, and from his practical occupation drew some 
knowledge of colors and their use which was of future advantage 
tohim. After three years’ study at the academy he was enabled 
to spend a year abroad, where he became a pupil of Professor 
Lindenschmidt, in Munich. For ten years past he has been an. 
exhibitor at the National Academy of Design. His subjects have 


44 THE CLARKE COLLECTION. 


included landscapes and cattle, and he has painted a series of still- 
life studies and portraits which have received attention from their 
adherence to nature and technical skill. 


No. 7—A Hard Lot. 
No. 176—TZhe Gluttons. 
No. 280—A Bachelor. 

No. 289—TZhe Orphan. 


DE HAVEN (F). 


Born at Bluffton, Ind.,and, coming to this city, became a pupil 
of George H. Smillie. He has been represented in most of the exhi- 
bitions for the past fifteen years, and has devoted himself entirely 
to landscapes, painting twilights and sunsets, in particular, with 
much feeling. 


No. 94—Sundown. 
No. 173—Autumn Twilight. 


DEWEY (CHARLES MELVILLE). 


It has been remarked by American landscape painters that the men 
who exhibit the strongest individuality in their work are commonly 
those who owe their teaching entirely to themselves; who, by 
feeling their way step by step to a proficiency in art, create their 
own distinctive method of progress. Such a painter is Charles 
Melville Dewey. Born at Lowville, N. Y., in 1851, Mr. Dewey 
commenced by learning to draw from nature, and next advanced 
to teaching himself to paint. In 1875 he made his first exhibit at 
the National Academy of Design, to whose exhibitions he has since 
been a regular contributor. He early became known as a truthful 
delineator of familiar phases of American landscape, and especially 
of those scenes along the edges of the sea where tidal moisture 
enriches nature, and the constant atmospheric changes lend her 
aérial variety. His sympathy is with the riper developments of 
color, and some of his most successful efforts have been in subjects 
seized upon at the decline of day, and especially at the season of 
the passing year when Indian summer lingers in drowsy hazes over 
field and forest made splendid by the first frosts. Mr. Dewey is a 


BIOGRAPHICAL NOTES AND INDEX. 45 


proficient painter in water colors as well as in oils, and has, without 
any special pretensions as a portrait painter, essayed portraiture 
with success. His studio is in New York. 


No. 183—Lave of the Forest. 
No. 223—A/dong the Shore. 


DEWING (THomas W.), N.A. 


A native of Boston, born in 1851, T. W. Dewing is a graduate 
from the instructorship of Lefebvre and Boulanger, of Paris. The 
tendency of these masters to a decorative treatment of historical 
and mythological subjects no doubt gave their pupil a general ten- 
dency in the same direction, but there is no similarity between his 
method of thought and theirs, nor in the styles of treatment. In 
some of the first original works produced by him, Mr. Dewing 
betrayed his school influence slightly, but his own imaginative and 
creative gift speedily asserted itself. His first work to attract at- 
tention in New York was shown at the National Academy, in 1877, 
and it was followed by others in 1878, at the exhibition of the 
Society of American Artists. He has figured regularly in the 
exhibitions since with many delightful compositions of a deco- 
rative order and an allegorical meaning, extremely delicate in 
treatment, and brilliantly luminous in effect. He at first, upon 
his return from Europe, settled in Boston, but speedily removed 
his studio to New York, where he became a National Academi- 
cian in 1888. 


No. 246—A Garden. 


DIELMAN (FREDERICK), N.A. 


One of the founders of the Society of American Artists, and of the 
New York Etching Club, a member of the American Water Color 
Society of long standing, and a National Academician since 1883, 
Frederick Dielman’ has been an active factor in the advancement 
of our art. A native of Hanover, Germany, he was born in 1848, 
but brought in early childhood to the United States. His family 
settled in Baltimore, and he acquired the rudiments of a higher art 


46 


THE CLARKE COLLECTION. 


as a topographer in the employ of the United States Government 
in Virginia, in which service he spent six years. His artistic 
studies, which filled up his leisure time, encouraged him to their 
continuance at the termination of his less congenial labors, and he 
entered the Royal Academy of Munich as a student, and secured 
admission to the studio of Professor Dietz. The honor of a life 
class medal fell to him at the art school, and he was accepted with 
great favor by the post-graduates of that academy who constitute the 
Munich Art Club, when he set up his easel for himself. He was 
one of the powerful body of young painters whose contributions to 
the National Academy of Design in 1877 practically fired the train 
for a revolution in our art, and who, to carry out their ideas, 
formed themselves into what was then a rival, but is now a brother, 
society to the National Academy. His introductory exhibit at the 
National Academy, ‘‘ A Patrician Lady,” was one of the star pictures 
of the exhibition, and its enthusiastic commendation by as severe a 
critic as Bayard Taylor, in the Mew York Tribune, had much to 
do with enforcing the artist’s claims upon the public. His works 
in oil and water colors, unpretentious in subject but delicate in 
execution and powerful in the impression of their harmonious 
color and refined feeling, supported this indorsement. As an 
artist etcher, Mr. Dielman shared in forcing the revival of that 
noble and then neglected art among us, and his contributions to 
our periodical press were among those which mark the renaissance 
of the graphic art brought about by American artists, engravers, 
and publishers. Since his return from Munich in 1877, Mr. Diel- 
man’s studio has been located in New York. 


No. 64—TZessa. 
No. 259—Ffuritan Wedding. 


DIXON (M. R.), deceased. 


Mrs. Dixon was one of the original members of the Art Students’ 
League of New York, and was prominent in the Brooklyn Sketch 
Club. She had a studio in Brooklyn, and painted her genre pic- 
tures there. Her compositions were popular, and upon the opening 
days of our local exhibitions her contributions were invariably 
among those first marked sold. The artist died in 1896. 


No. 114—Jnto Each Life Some Rain Must Fall, 


‘BIOGRAPHICAL NOTES AND INDEX. 47 


DOLPH (J. H.), N.A. 


Born at Port Ann, N. Y., in 1835, Mr. Dolph has been identified 
with the art life of New York for many years. He studied under 
Louis Van Kuyck, at Antwerp. Returning, he was made an Asso- 
ciate of the National Academy in 1877, and elected in 1808 to full 
academic honors. Although Mr. Dolph is a painter of the figure 
and cattle, it is as a delineator of cats that he has achieved his 
greatest popularity. He has made them his constant study, and 
paints them with a charm quite his own, 


No. 298—Cat and Kittens. 


EAKINS (THOMAS). 


The extending and lasting influence which William M, Hunt exer- 
cised over art in New England in his time, has been repeated by 
Professor Thomas Eakins, in Philadelphia. Like Hunt he pos- 
sesses in an eminent degree the qualities of character which are re- 
quired to render a painter of ability alsoa master. The magnetism, 
the persuasive and commanding traits of well defined and well 
grounded knowledge and positive convictions may be absent from 
the ablest of technicians. When they are present they constitute 
their possessor a master in every sense of the word. This Mr. 
Eakins has proven himself to be. His capacity as an instructor, 
counsellor, and guide is testified to by the productions of his pupils. 
Meanwhile, his own remarkable powers of production, far from 
being impaired by the distraction of teaching, continue to ripen 
and expand. Mr. Eakins isa native of the city with which his 
name will ever be artistically identified. He was born in 1844, was 
a student at the Pennsylvania Academy and in Paris at the Ecole 
des Beaux-Arts, and in the ateliers of Léon Bonnat and J. L. 
Géroéme. He also practiced sculpture under Dumont. Exhaust- 
ing every resource of the art by investigation and experiment, his 
tireless industry resulted in fortifying himself with a reserve store 
of knowledge such as few artists of the day possess. He has his 
studio in Philadelphia, where his classes and his easel keep him 
steadily employed. His productions number a long array of studies 
of American life and character, from still-life and landscape to gems 
of genre and heroic exploits in portraiture. 


No. 342—Lrofessionals at Rehearsal, 


48 


THE CLARKE COLLECTION. | 


EARLE (LAWRENCE C.), A.N.A. 


A native of New York, L. C. Earle first won extended patronage 
in the West, where he located in the city of Chicago. He has de- 
voted much of his attention to the delineation of the characteristic 
scenery and life of that section, painting in oils and in water colors 
with equal success ; and his pictures have, by their intrinsic merit, 
secured wide distribution among our public exhibitions and private 
collections. 


No. 4—Great Expectations. 


EATON (Wyatt), deceased. 


It is a characteristic of Mr. Eaton’s pictures, that even when the 
subject is a simple piece of portraiture, the instinct of the artist. 
gives it a felicitously graceful turn of pose, and special harmony 
of color. It was the expression of the painter’s natural gift to see 
things simply, but always beautifully. In his portraits of women 
this has been especially manifested, and it reveals itself in the line 
and color of his imaginative works. A pensive strain pervades his 
canvases, a strain of thoughtful and poetic feeling, devoid of 
melancholy and yet averse to mere empty gayety. There is some- 
thing in his canvases which awaken the memory of Keats’s 
poetry; the sentiment is pure, and the composition harmonious, 
the executive touch fluent and graceful. Such poetry and such 
pictures do not sadden or depress their audiences, but make them 
reflect and study. The Parisian critics recognized this trait of 
Mr. Eaton’s artistic character when he sent his charming ‘‘ Rev- 
erie,” first shown at the National Academy in 1875, and the 
‘* Harvesters at Rest,” to the Exposition of 1878. For simplicity, 
clearness, dignity, and grace, this latter work was ranked by many 
within the standard of Millet. Mr. Eaton was a native of Canada, 
being born at Philipsburg in 1849. He was a pupil in New York of 
J. O. Eaton, of the National Academy, and in Paris of J. L. 
Géréme, and was the first secretary of the Society of American 
Artists, which he helped to organize. 


No. 334—Daphune. 


BIOGRAPHICAL NOTES AND INDEX 49 


ELWELL (D. J.). 


A Boston painter who has had a studio in that city for some years. 
He is a serious worker who has painted many canvases, among 
which have been landscape and river views. He has studied nature 
carefully, and his reputation is founded on thoughtfully searched 
compositions which have been seen at the various exhibitions. His 
work shows great vigor, and he is highly regarded by the colony of 
artists in Boston. Mr. Elwell has also worked considerably abroad. 


No. 191—SBreezy Day. 


EVANS (JOE), deceased. 


‘A native of New York and a pupil of the National Academy 
‘schools and of the Art Students’ League, Joe Evans owed his 
actual development as a painter to a close and sympathetic study 
of nature. His sympathy with her quiet and restful moods invested 
the simplest and most unostentatious subjects, under his brush, 
with an individual character and charm. A member for some 
years of the Society of American Artists, he died in New York 
in 1898. 


No. 1 74—Landscape. 


FERGUSON (HEnry A.), A.N.A. 


Mr. Ferguson was born at Albany in this State and came to New 
York as a lad to study art. As a young man he made extensive 
trips to South America, painting some of his most important can- 
vases among the mountains and plateaus there. He also painted 
for some years in Venice and other cities in Italy. He was made 
an Associate of the National Academy of Design some years ago, 
and is a frequent contributor to the exhibitions, 


No. 227—M7. Lafayette and Valley. 


FITZ (BENJAMIN R.), deceased. 


The pictures of B. R. Fitz, low in tone and quiet in color, but 
invariably breathing a sentiment of a high order, commanded 
the attention of the discriminating visitor at the exhibitions par- 


5° 


THE CLARKE COLLECTION. 


ticularly after the artist’s return from Europe some years ago. 
Mr. Fitz was born in New York in 1855. He was a pupil of the 
National Academy, and of the Art Students’ League of New 
York, from 1877 until 1881, in which latter year he crossed the 
Atlantic and settled at Munich, to study in the Academy, and 
under Professor Loefftz. Two medals of the first class testified 
to the good work he did at the Bavarian art school, and when he 
returned to America, in 1884, his productions showed that his 
years of absence had been been spent to good purpose. In por- 
traiture he produced works full of a pensive charm of expression 
and treatment, and some of his studies of the nude show high 
qualities of color and handling, refined by the utmost purity of 
conception and tenderness of treatment. He died in New York 
in 1891. 


No. 19— Gathering the Last Sheaves. 


FOWLER (FRANK), A.N.A. 


While Carolus-Duran was executing his fresco of ‘‘ The Apotheosis 
of Marie de Medici” in the Luxembourg Museum, he had the 
assistance of some of his American pupils in the work. One of 
them was Frank Fowler, a young New Yorker, who, after studying 
under Edwin White in Florence, had journeyed to Paris to enjoy 
the instruction of Carolus. Mr. Fowler returned and settled in his 
native city after the completion of the Luxembourg fresco, and has 
since had his studio here. Although a painter of subject pictures 
of good style and attractive quality, he has almost entirely devoted 
himself to portraits and character heads, in which he excels. He 
is also well-known and highly esteemed as a teacher. Mr. Fowler 
is a member of the Society of American Artists and an Associate 
of the National Academy of Design. 


No. 142—An Arab’s Head. 


FREER (FREDERICK W.), A.N.A. 


Born at Chicago, Ill., in 1849, F. W. Freer is a graduate of the 
art schools of Munich and of Paris. He first exhibited at the 
National Academy in 1881, and his pictures of female types of the 
refined order established his reputation. He produced subject 
pictures of good quality as well, but in those above indicated his 


BIOGRAPHICAL NOTES AND INDEX. 51 


talent revealed itself at its best. His work in watercolors wasin a 
similar vein and of a kindred excellence of execution. As anetcher 
he has produced several important plates, notably a large study of 
a little girl, executed entirely in dry point and directly from life, 
which is unique in this country at least. After holding his studio 
in New York for a number of years, he removed to Chicago, where 
he is now established. Mr. Freer is an Associate of the National 
Academy, and a member of the American Water Color Society. 


No. 29—WMother and Child. 
No. 307—forning. 


FULLER (GEORGE), A.N.A., deceased. 


Like a strange light which gleams across a sky of night and storm, 
bringing but a vague hint of its origin, and leaving nothing but a 
memory behind it, the unique genius of George Fuller flamed along 
the horizon of art. Shallow critics have made it a reproach that he 
created no school. Wiser minds rejoice that he did not, for he 
was so essentially himself that he could have taught no one, and 
could have left nothing but feebly ridiculous imitators. Never was 
the statement that art is but a medium of personal expression more 
conclusively proved. In 1860, at the age of forty-eight years, 
during thirty of which he had been painting portraits on a founda- 
tion of very little schooling, Fuller came to a conclusion, or rather 
a conviction, that he had found the right path at last. After living 
and working in New York and Boston, he had, in 1859, been able 
to make a brief visit to Europe, and it was doubtless what he saw 
there that opened his eyes. For sixteen years, alone in his rural 
retreat, he worked out his problem, asking no counsel and making 
no confidences. When he reappeared in public in 1876, the George 
Fuller of the future had emerged from the shell of the George 
Fuller of the past. He had studied his own nature and learned to 
paint as he thought, but he could no more have taught anyone else 
to do it than he could help doing it himself. He was a dreamer of 
vague, poetic dreams. Isolation had given his mind a brooding, 
although not a morbid, cast. That which he was his pictures 
showed him to be and they suggest what he might have been, had 
the circumstances of his life been more auspicious—certainly an 


52 


THE CLARKE COLLECTION. 


American Millet. George Fuller was born at Deerfield, Mass. 
He worked, at the age of twenty, for a short time, as a sculptor, 
under Henry Kirke Brown, at Albany. Then he became a portrait 
painter, living in Boston for a few years, and finally locating in 
New York, where he remained. It was here that he saved the 
money which carried him to Europe and revealed his vocation to 
him. His exhibition of 1876 had cleared the road to fame, 
but the lamp had nearly burned out before the splendor of its 
flame was appreciated. One of the most successful individual 
exhibitions ever held in America was made of his works in 
Boston after his death in that city in 1884. He was made an 
Associate of the National Academy in 1857, but he accepted it as 
an honor thrust upon him, and disdained to seek for more. He 
believed, and truly, that his art was its own best compensation and 
monument. 


No. 178—Larly Portrait of the Arist. 
No. 274—A Romany Girl. 


GAUL (GILBERT), N.A. 


The development of a battle painter of leading note out of an 
artist who has not seen actual service is rather a remarkable matter 
in itself. This fact is to be recorded to the credit of Gilbert Gaul, 
born at Jersey City, N. J., in 1855, and pupil of the National 
Academy and of J.G. Brown. From the latter master he obtained 
that valuable foundation for a young artist—good drawing and 
solid and healthy color. Beyond this the master has not influenced 
him, and his work shows no indications by which his schooling 
might be traced. He has made a close study of the kaleidescopic 
episodes of battle, and his pictures are a series of such incidents 
realized with stirring spirit. They are realistic without being 
repulsive. His soldiers have the true, rude picturesqueness of the 
camp and the trenches, and in action display the savage excite- 
ment and intense expressiveness of the occasion. Mr. Gaul first 
exhibited at the National Academy, in 1872, and has been an 
Academician since 1882. His studio is in New York. 


No. 234—Wounded—To the Rear. 


GI 


No. 
No. 


No. 


No 


GI 


BIOGRAPHICAL NOTES AND INDEX. 53 


BSON (CHARLES DANA). 


Some ten years or more ago there began to appear ina weekly illus- 
trated publication in New York, certain pen-and-ink drawings attack- 
ing social fadsin adirectand clever manner. The figures, although 
lacking in absolute anatomical correctness, were yet happily sug- 
gestive and full of promise. The work rapidly improved in 
technical quality, and the drawings came to be looked for every 
week and constituted an important reason for the popularity of Zz7e, 
which was the name of the journal. The young man whose name 
thus became known was Charles Dana Gibson, and his delightful 
renditions of American womanhood soon caused him to be famous 
all over the land. The ‘‘ Gibson Girl” became a synonym for all 
that was attractive, stylish, and chic, and the draughtsman found in 
her an artistic gold mine that as yet is unexhausted. Mr. Gibson 
drew for other publications, his work being in great demand ; he 
illustrated many of the popular novels of the day as well, and 
prepared a new set of pictures for the works of Dickens. He 
has made many trips abroad, and drawn for the English publica- 
tions. He is self-taught, and thus far has confined his work to 
black and white. 


100—TZhe Farting. 

132—These Young Girls who Marry 
Oldish Millionaires. 

228—Men must Work. 

. 287—Lew Leaf. 


FFORD (SANFORD R.), N.A., deceased. 


One of the first of our landscape painters to seek the influence of 
the ripened art of Europe for the refinement of his own, S. R. Gif- 
ford created an extraordinary impression upon his time. He pos- 
sessed that quality in his art which, for lack of a more specific 
title, we call magnetism. His vigorous manipulation, his boldness 
of design, and his opulent color, commanded rather than sought 
attention. To the most commonplace scenes his brush could lend 
a certain fascinating attractiveness, and in his most successful 
works his mastery was supreme. Born at Greenfield, in Saratoga 
County, and brought up in Hudson, N. Y., he enjoyed a classical 
education which reflected itself in the intellectual quality of his 


54 


No. 


THE CLARKE COLLECTION. 


productions. He graduated from Brown University in 1842, and 


in 1844 took his first lesson as a painter in the studio of John R. 


Smith, in New York city. In1850, he began the tour of Europe, 
and on his return in 1854 was made a National Academician. 
Six years later he again crossed the ocean, this time extending his 
tour and sketching along the Rhine, in Switzerland, Italy, Egypt, 
and up the Nile. Once more upon the Western Continent, he, in 
1870, visited the Rocky Mountains and brought back many studies 
of the Great West. At the Centennial Exposition in Philadelphia, 
in 1876, he was commended for excellence in landscape painting, 
and his fame and popularity survived him. His death occurred in 
1880, and his genial personality invested it with the aspect of an 
almost national calamity as well as a great artistic loss. A man 
of elevated thought and refined feeling, he left upon our art that 
impress which only the student and the thinker can accomplish. 


22—Venetian Fishing Boats. 


No. 135—allanza. 


GIFFORD (R. Swain), N.A. 


One of the eminently just awards made at Philadelphia’s Centen- 
nial Exposition, in 1876, was that of the medal of honor for painting 
in oil to Robert Swain Gifford. The recognitions which succeeded 
this: his election to the National Academy in 1878, and his award 
of the $2,500 prize at the First Prize Fund Exhibition at the 
American Art Galleries in 1885, confirmed his reputation. Born 
in 1840, on the Island of Naushon, Mass., he was instructed in the 
rudiments of the art for which his talent manifested itself by the 
Dutch marine painter, Albert Van Beest, who was then settled at 
New Bedford, near the boy’s birthplace. His progress was so 
rapid that his master soon employed his services as an assistant, 
and in 1864, having gained courage enough, from this attestation 
of his ability, to set up an easel for himself, young Gifford opened 
a studio in Boston. Two years later he emigrated to New York, 
where he has since been at home. His exhibits at the National 
Academy, on the year succeeding his settlement in New York, 
secured for him admission as an Associate. In 1869 he made a 
tour of California and Oregon, and in 1870 turned his face towards 
Europe for the first time. He spent two busy and fruitful years in 
England, France, Spain, Italy, Morocco, and Egypt. In 1874 he 
once more crossed the Atlantic ; this time for an artistic exploration 


BIOGRAPHICAL NOTES AND INDEX. 55 


of Algiers and the Great Desert, sketching his way homeward 
through France. In the pictures which record these journeys, Mr. 
Gifford is never false to the fashion or local color of his scene. 
Yet these experiences in alien climes have not weakened his hand 
in the rendition of the scenery amid which he was born. In his 
American landscapes he is always a son of the soil, gathering 
strength from contact with it, and sensitive to its poetic beauties, 
as well as to its picturesque possibilities. He was one of the 
founders of the American Water Color Society, in 1866, and re- 
mains one of its strongest contributors and supporters. He was 
one of the founders of the New York Etching Club, and is one 
of our most accomplished etchers. He is a member of the Brit- 
ish Society of Painters-Etchers, and of the Society of American 
Artists. 


No. 28—Autumn. 
No. 104—Mouth of the Sahara. 
No. 335—LVashawanna Island. 


GRANT (C. R.), deceased. 


Familiar at most of the exhibitions throughout the country up to 
the time of his death, in 1893, Mr. Grant’s work enjoyed consider- 
able popularity. His subjects, generally of attractive young women 
in old-fashioned interiors, were interesting and told their story well. 
A number of these were etched and otherwise reproduced, the 
example in this collection having been thus translated into black 
and white, and being one of his most successful efforts. Few 
painters among the younger set gave more promise than did Mr. 
Grant at the time of his death. 


t 


No. 62— Waiting. 


GRAY (HENRY PETERS), N.A., deceased. 


The last exhibit of note made by Henry Peters Gray at the 
National Academy of Design, was the ‘‘ Origin of our Flag.” This 
picture was shown in 1875. Two years later the painter, who was 
born at New York in 1819, passed away. With him died almost 
the last of the American painters who had striven to master the 
secret of Titian, and history has assigned him a permanent and 


56 


THE CLARKE COLLECTION. 


honorable place in our art. He began his studies under Daniel 
Huntington in 1839, in 1840 went to Europe, where he fell under 
the spell of the Old Masters in Rome and Venice, and came back 
to America to. be made a member of the: National Academy in 
1842. Until 1846 he remained in New York, prospering in reputa- 
‘tion and purse as a portrait painter, and adding to his fame by 
occasional imaginative works. Then he made a second voyage 
to Europe. Upon his reappearance in the United States he found 
his popularity further increased, and from 1869 until 1871, held 
the office of, President of the National Academy. Another Euro- 
pean trip kept him in Florence until 1874, when he came back 
once more, to remain here until his death. His pictures evidence 
his sound academic study, and in his execution he achieved the 
finished and mellow tone which he so much admired in the master 
whom he had made, after a fashion, his model. In his imaginative 


female heads he displayed great refinement and delicacy of touch, 


‘and at his best he was unequalled in our art in the luminous quality | 
of his flesh tints. During his later years he devoted himself 


almost entirely to portrait painting, and many of his cabinet por- 
traits are delightful works. 


No. 120—TZhe Origin of Our Flag. 


GREEN (FRANK RUSSELL), A.N.A. 


Born at Chicago in 1859, Mr. Green, at an early age, came to New 
York to pursue his art studies, and finally went to Paris, where he 
became a pupil of the Academie Julian, under Boulanger and 
Lefebvre. He also studied under Courtois and Collin, at the 
Academie Colarossi, and returning to New York, at once took a 
prominent position in art. He is a member of the American 
Water Color Society, and was recently elected to an Associateship 
in the National Academy of Design. Painting figures for some 
time, almost exclusively, of recent years, Mr. Green has added to 
the interest of his compositions by the introduction of animals, and 
he made a careful study of cattle in particular. These now form 
an important part of his pictures. Horses, too, he understands, 
and represents well. He is equally at home in the medium of 
both water color and oils, and is a regular contributor to most of 
the exhibitions of the country, He has a studio in New York. 


No, 112—Sweetheart. 


BIOGRAPHICAL NOTES AND INDEX. 57 


GUY (SEYMOUR J.), N.A. 


An Englishman by birth, dating from the town of Greenwich in 
1824, and schooled in London as a pupil of Buttersworth and of 
Ambrose Jerome, S. J. Guy has none the less completely identi- 
fied himself with the land of his permanent adoption. Coming to 
New York at the age of thirty years, he became known as a por- 
trait painter, and in this walk achieved an encouraging degree of 
success. This success he eclipsed, however, when he turned his 
attention to genre painting. He has produced many subjects of a 
social character, but it is in his pictures of domestic life that his 
own love of home and tender sentiment in all that appertains to it 
makes the strongest appeal. Mr. Guy is a finished draughtsman, 
with an agreeable color and a serious and conscientious method. 
He became an Associate of the National Academy in 1861, a full 
member in 1865, and is one of the original members of the Ameri- 
can Water Color Society. His absolute devotion to his art, and 
the critical conscientiousness with which he lingers over each can- 
vas, render his production slow and his works comparatively rare. 


No, 12—Out of its Element. 


HABERLE (JOHN). 


_ Mr. Haberle is a native of Connecticut and a pupil of the National 
Academy of Design. He has his studio in New Haven, Conn. 
His small still-life panels have created popular interest in the art 
institutions of this country. 


No. 36—Jmitations. 


HAHS (PHILP B.), deceased. 


An amiable and pleasing talent was cut short in a promising career 
by the death of Philip B. Hahs, in 1882. Born at Reading, Pa., 
in 1853, Mr. Hahs was one of the cleverest graduates of the Penn- 
sylvania Academy of Fine Arts, and of the school of Professor 
Thomas Eakins. He made his studio in Philadelphia, and at the 
time of his death, which occurred in that city, had become known 
as a painter of strong and simple style, delicate refinement, and 
hearty human feeling. 


No. 156—Zulaby. 


58 THE CLARKE COLLECTION, 


HARRIS (CHARLES X.). 


Charles X. Harris was born at Foxcroft, Me., in 1856. He was 
the son of a mill builder, whose vocation took him to various parts 
of the country, and the boy travelled from the Atlantic to the Pacific 
coasts with his family. He commenced to draw by instinct during 
these wanderings, and even as a child showed a distinct talent for 
humorous characterization such as one encounters in a refined de- 
gree in his later works. In 1875 he had gathered sufficient means. 
to carry him to Paris, where he studied at the Ecole des Beaux- 
Arts, and had Cabanel fora master. A robust and sturdy youth, 
with the wandering spirit strong upon him, he eventually left Paris, 
drifted about in Italy, lived on the island of Capri for a while, and 
then undertook a most daring exploration of Sicily. The brigands 
who infested the island were deceived by his sunburnt complexion, 
his raven hair and fluency in Italian, supported by his shabby 
peasant disguise, into believing him not worth robbing, and he 
completed his desperate expedition in safety. After trips to Spain 
and North Africa, he turned his face to America, in 1881, and after 
completing some decorative commissions, settled down to work at 
the easel. His knowledge of the Italian language and of the 
Italian character led him to seek for subjects in the quarter of the 
city inhabited by this people, and amid its picturesque squalor, 
painting on the spot, he executed the pictures by which he made | 
his mark. He first exhibited at the National Academy in 1885, 
since which time he has been a regular contributor to its annual 
exhibitions, His studio is in New York. 


No. 82—Colonial Days. 
No. 192—TZhe Scouts. 
No. 309—Jtahan Quarter, New York City. 


HARRISON (ALEXANDER), A.N.A. 


In the St. Louis Museum of Fine Arts a centre of one of the walls 
is held by a representation of surf and sea by moonlight, which 
is called ‘‘ La Crépuscule.” It is the work of an artist of Phila- 
delphia, who is equally esteemed in Paris, the city of his studies, 
and at home. Thomas Alexander Harrison is the elder of three 
gifted artist brothers. Hewas born in 1853, and made his first 
studies in the Pennsylvania Academy and at the San Francisco Art 
School. In Paris he has studied at the Ecole des Beaux-Art under 


BIOGRAPHICAL NOTES AND INDEX. 59 


J. L. Gérdme. He paints figures, marines, and landscapes with 
equal facility and force ; indeed, his first successes were made with 
distinctively figure subjects. But as he progressed in experience 
he widened his range, and in his adoption of the realistic cult found 
his most congenial material inthe sea, In 1885 his ‘‘ Crépuscule” 
secured one of the $2,500 prizes awarded at the American Art 
Galleries, in New York, and was allotted tothe St. Louis Museum. 
In 1890, ten years after he made his début in the Salon, the French 
Government acquired one of his pictures for the Luxembourg Gal- 
lery, and the same year brought him a medal from the Munich 
International Art Exhibition. Previously, in 1889, he had received 
a gold medal at the Paris Exposition, and had been invested with 
the Legion of Honor. He is a member of the Society of Amer- 
ican Artists, an Associate of the National Academy, and has his 
studio in Paris. 


No. 7o—Marine. 


HART (JAMEs M.), N.A. 


Mr. Hart is one of two brothers, William being now dead, who 
came to this country from Scotland as boys. He was born at 
Kilmarnock in 1828. Settling in Albany, N. Y., the lad was 
apprenticed to a coachmaker, and from decorating carriages he 
drifted into art. In 1851 he went to Germany, entering the school 
at Dusseldorf, and painted a yearunder Schirmer. He was elected 
an Academician in 1859, and since the beginning has given his 
attention to landscape work. He is vice-president of the National 
Academy of Design, and his studio is in New York. His pic- 
tures may be found in some of our best collections. He is repre- 
sented in the Corcoran Art Gallery, in Washington, D. C, 


No. 328—Landscape, Harmington, Conn. 


HART (WILLIAM), N.A., deceased. 


The older of two brothers, the younger, James M., being vice- 
president of the National Academy of Design. William was 
born in 1822, and taken by his parents to America in 1831. He 
died in 1894. His first notions of art were obtained through 
assisting at coach decoration in a shop in Albany, where he was 
employed. Subsequently, he painted portraits. He opened a 


60 


THE CLARKE COLLECTION. 


studio in New York in 1853, and in 1858 was made a National 
Academician. Mr. Hart was President of the Water Color Society 
from 1870 to 1873. He painted many important pictures, and 
is represented in most of the well-known collections in this 
country. 


No. 293—Zwilight. 


HASSAM (CHILDE). 


The first appearances of Childe Hassam were made at the local 
art exhibitions of Boston, of which city he isa native. He was 
born in 1859. He painted skilfully in water colors, and was widely 
known as a designer for the periodicals. In 1883 he was among 
the exhibitors at the National Academy of Design, in New York. 
A brief summer tour of Europe did much to broaden his artistic 
scope, and a later residence and study of several years in Paris, 
under Boulanger and Lefebvre, made him conspicuous in the im- 
pressionistic movement, of which his later works are exponents. A 
special exhibition of his pictures in New York city resulted in his 
establishing himself here, where he became a member of the 
American Water Color Society, and in 1889 was one of the organ- 
izers of the New York Water Color Club. In out-of-door scenes, 
enlivened with figures, Mr. Hassam reveals a keen appreciation of 
the picturesque, with a strong feeling for the subtleties of light 
and weather. His touch is spirited, and his color bright and 
animated—qualities which lend themselves with especially happy 
results to the street scenes in which the artist is seen, perhaps, at 
his best. He received a bronze medal at the Paris Exhibition of 
1889, and the second prize in 1898 at the Carnegie Gallery exhibi- 
tion in Pittsburg. 


No. 134—A Rainy Day. 


HENRY (E. L.), N.A. 


Mr. Henry is a unique and thoroughly American art production, 
possibly the most distinctively native, and surely one of the most 
original, of our painters. He was born in Charleston, S. C., Janu- 
ary 12, 1841. A pupil of the Pennsylvania Academy of Fine Arts, 
Mr. Henry subsequently studied in Paris with Courbet, spend- 


BIOGRAPHICAL. NOTES AND INDEX. 61 


ing some years later in Italy and England, and revisiting those 
countries again in 1871, 1875, and 1882. But with all this, the 
artist brought back no suspicion of the influence of the European 
schools, remaining always patriotically American. Few men have 
a more innate feeling for character than has Mr. Henry, and with 
this he possesses the keenest sense of humor, which even in his 
most serious work, it is impossible to disguise. His delineation of 
negro life, seen from the absurd side, has been among the best 
turned out here, but he will be remembered more seriously by his 
contributions to the pictorial history of earlier American events, 
such for example as the ‘‘ Battle of Germantown,” owned by the 
Astor family ; the ‘‘ Declaration of Independence,” in the possession 
of Mr. Drexel ; ‘‘ Reception to Lafayette,” in Mr. Chew’s house in 
Germantown, and his more recent departure of ‘‘ The First Railroad 
Train in America.” All of these are faithful representations of the 
events, absolutely correct as to dress, manners, environment, and 
architecture, down to the smallest detail, the result not only of spe- 
cial feeling and equipment, but of deep historical research. He de- 
lights in scenes of early Colonial life, and having studied this epoch 
thoroughly, he is enabled to render it with fidelity. Mr. Henry’s 


- drawing and technique seem to suit the themes he chooses, and by 


general consent his position in his profession is quite exceptional. 
His enthusiasm now is no less great than in years past, and he 
remains to-day as full of ardor and earnestness as when he was a 
student. 


No. 323—Zhe Canal Lock. 


HERTER (ALBERT). 


A native of this city, and a pupil of the Art Students’ League, Mr. 
Herter went abroad in the eighties, and studied in the ateliers of F. 


_ Cormon and J. P. Laurens. In 1890 he took an Honorable Men- 


tion at the Paris Salon, and on his return to New York he was 
elected to membership in the Society of American Artists and the 
New York Water Color Club. Mr. Herter’s work is marked with 
great delicacy and much originality ; he is a fine draughtsman, and 
has the faculty of producing an agreeable decorative aspect in his 
compositions. 


No. 296—/apanese Interior. 


62 


THE CLARKE COLLECTION. 


HOLBERTON (WAKEMAN), deceased. 


An artist who was also a devoted sportsman, and who made his busy 
life a happy combination by the use of the rod and brush, was Wake- 
man Holberton. He was, perhaps, more widely known as an expert 
angler and writer upon the topic, than as an illustrator of it with 
the pencil, but his pictures of the piscatorial subjects which he 
made his speciality, have an extended fame among those who share 
his affection for the art immortalized by Izaak Walton. Mr. 
Holberton was a native of New York, where he worked during a 
portion of the year, but for the greater part his studio was located 
among the scenes from which his inspiration was derived. 


No. 190—Brook Trout. 


HOMER (WINSLOW), N.A. 


About the middle of the fifties, a youth of nineteen found employ- 
ment in the establishment of a lithographer in the city of Boston, 
where he was born in 1836. From the start the young man displayed 
remarkable aptitudeasa draughtsman. He had entered the shop as 
an apprentice, and remained at work there until he had completed 
his twenty-first year, and saved a little money out of his wages. 
On this modest capital he came to New York, where he entered 
himself as a student at the National Academy of Design, and be- 
came a pupil of Frederic Rondel, a French artist then in great re- 
pute in New York as a teacher. Incidental to his studies, he made 
illustrations on wood blocks for publishers, by means of which 
he found it possible to support himself. At the outbreak of the 
Civil War he went to Washington, making excursions in vari- 
ous directions with the armies, and furnishing drawings of his ex- 
periences and the episodes of the war to Harfer’s Weekly. It was 
at this time that he began to apply his lessons in painting. The 
subjects he chose were those suggested by the life and scenes 
around him—scenes of camp and campaign life—the first of them 
to attract attention being ‘‘ Prisoners from the Front.” This actual 
scene of the war for the Union, appearing at a time when popular 
excitement was at fever heat, made a profound impression, and 
established the painter’s reputation immediately. He was made an 
Associate of the National Academy in 1864, an Academician the fol- 
lowing year, and in 1866 assisted in organizing the American Water 
Color Society. He made his first visit to Europe at this time, but 


No. 
No, 
No. 
No. 
No. 


BIOGRAPHICAL. NOTES AND INDEX. «63 


his stay was brief, and his experience, while it enlarged his field of 
subjects, had no perceptible influence on his individuality. He 
works now, as he did at the beginning, in utter independence of 
schools and masters. His method is entirely his own. He was a 
realist, before realism had become a fixed fact in French art, from 
which it has since been so extensively imported into our own. He 
painted nature as he saw it—always, however, seeing it with a 
lively appreciation of all that is picturesque and dramatic. His 
command of the local color and spirit of a scene is always masterly, 
and whether he gives us a group of English fishergirls, a landscape 
in the Bahamas, a camp of pioneers or fishermen in the wilder- 
ness, or a bit of the real life and nature of a Southern plantation or 
the New England coast, the impression of actuality which he con- 
veys is equally vivid and penetrating. During recent years Mr. 
Homer has worked most of the time in his studio on the Maine 
coast, producing, in a series of marine and coast subjects, a series 
of pictures by which the standard of his art has been established 
at the head of the American school. He has experimented in etch- 
ing subjects of his own selection and design, and in this art has 
executed some plates of an originality and power in correspondence 
with his works in color. 


24—Zln the Garden. 
33—Canoeing tn the Adirondacks. 
48— Watching the Tempest. 
59—Coastin Winter. 

84—The Lookout—All’s Well! 
86—The Carnival. 

92— West Wind. 


. 119—TLhe Market Scene. 

. 123—The Bright Side. 

. 129—An Unexpected Catch./ 
. 139—On the Cuffs. 

. 149—LRatons. 


159—Lodder. 
168—Maine Coast. 
186—The Life Line. 
188—TZhe Buccaneers. 
203—Aise toa Fly. / 


| 
a 
; 
i 


64 


No. 


THE. CLARKE COLLECTION. 


210—TZo the Rescue. 


. 220—Rowing Homeward. 


230—Vistt to the Mistress. 


. 239—Camp Fire. 

. 269—Perils of the Sea. Ss 2\Q 
. 277—The Gale. 
. 284—Daneer. 

. 310—Under a Palm Tree.. 


320—Sea on the Bar. 


. 330—Leaping Trout. . 


340—The Breakwater. 


. 350—Moonlight, Wood's Island Light. — 
. 360—TZwo Guides. | 
. 370—Light Bells, 


HOPKINSON (CHARLES). 


No. 


A young painter of much promise. Born in Boston. While 
pursuing his studies in Harvard College he showed strong inclina- 
tion for painting, and, graduating, he entered the Art Students’ 
League in New York. He has made several successful exhibits at 
the National Academy of Design and at the Society of American 
Artists. 


105—A Sutff Northeaster. 


HORTON (W. S.). 


No. 


Born in New York State. He attended drawing and painting 
classes at the National Academy of Design for several seasons. 
He has shown a nice feeling in water color, but latterly has given 
his entire study to work in oil. He is a close student of nature, 
and his contribution to the Academy display in the spring of 1891 
was accorded uniform praise. 


13—Driving the Flock. 


BIOGRAPHICAL NOTES AND INDEX. 65 


HUNT (WILLIAM MorRIS), deceased. 


Among all the names in the galaxy of American artists, none 
stands out with greater prominence than that of William M. Hunt, 
one of the best known and most revered of our native painters. 
He was born at Brattleboro’, Vt., in 1824, and at the age of twenty- 
two he went to Germany, and entered the academy at Dusseldorf. 
He studied drawing there with the intention, ultimately, of 
becoming a sculptor, and though he abandoned this to go to Paris 
and become a pupil of Couture in painting, his feeling all through 
his life was rather for mass than for line. At the time of his 
entrance into the atelier of Couture, his master’s name was on the 
lips of the entire art world of Europe. Couture had many pupils, 
but none received more of his loving care than did the young 
American, and Hunt made the most of his opportunities. He was 
also for some time at Barbizon, working with Millet, by whom he 
was deeply influenced. After exhibiting for several years in Paris, 
he returned to this country and made his headquarters in Boston, 
with which city he is always identified. He also had a studio at 
Newport, R. I. His most important works, taken altogether, were 
two great decorations for the New York State Capitol, at Albany. 
These are entitled ‘‘ The Flight of Night” and ‘‘ The Discoverer.” 
But he painted many portraits, including Chief Justices Shaw and 
Gray, Wm. M. Evarts, Wm. H. Gardiner, Mrs. Charles Francis 
Adams, and Peter C. Brooks, Jr. He gathered about him in his 
studio in Boston a large number of pupils, who followed him 
blindly, and he had many admirers among his contemporaries, 
whom he powerfully impressed ; indeed, few of our men ever had 
so strong a following, or left so indelible an imprint on the art of 
their time. He died at the Isles of Shoals, September 8, 1879. 
After his death there was a sale of his works which attracted much 
notice, and only last year the remnants of his studio, consisting of 
sketches, studies, and incompleted pictures, were sold under the 
hammer in Boston. 


No. 83—Sunht Woods. 
No. 304—Afpple Blossoms. 


HUNTINGTON (DANIEL), N.A. 


The history of the venerable President of the National Academy, 
for as such he will continue to be known, although he has laid 
aside his office, will always be intertwined with the history of 


es 


66 


THE CLARKE COLLECTION, 


American art. Mr. Huntington is a connecting link between the ~ 
first struggling beginnings of art in this country and its present 
splendid development. He was one of the devoted band who 
assisted in nursing the National Academy into healthy life for the 
service of art, and presided over its fortunes during its periods of 
greatest prosperity and usefulness. To the present generation Mr. 
Huntington is known as a painter of portraits. A long list of 
illustrious names has found perpetuation by his brush. It was 
by works of the imagination, however, that he won the laurels 
he now so justly wears. Born at New York in 1816, taking his 
early lessons from Professor Morse in 1835, and later enjoying 
the guidance of Henry Inman, he commenced to figure as a pro- 
ducing force in our art when he visited Florence in 1839. His 
earliest works were compositions of ideal characterizations, but the 
demand of the day made him a portrait painter on his return to 
New York, and he did not really recommence his original concep- 
tions until he returned to Italy in 1844. In Rome he resumed 
the composition of pictures, among which may be mentioned his 
‘*Henry VIII. and Catherine Parr,” ‘‘ Piety and Folly,” and 
‘“Mercy’s Dream.”’ He painted landscape with an able brush, - 
and many studies and pictures of the scenery he passed through 
marked his progress. In 1862 he was elected President of the 
Academy, and held office until he was succeeded by Henry Peters 
Gray, in 1869. In 1877 he was reélected, and remained at his 
post until his voluntary retirement in 1891. 


No. 27—Sz. Jerome. 


HOVENDEN (TuHoMaAs), N.A., deceased. 


It is an attestation of the energetic nature, as well as of the latent 
ability, of Thomas Hovenden that his serious study of art cannot be 
said to have begun before he had reached middle age. He was 
born at Dunmany, Ireland, in 1840. He obtained some lessons in 
drawing at the Cork School of Design, in the leisure permitted him 
by daily labor, and coming to the United States in 1863, continued 
his night studies at the National Academy, being still compelled to 
reserve his daytime for the gaining of his subsistence. Finally, in 
1874, at an age when men commonly consider the direction of 
their lives marked out, he found himself in a position to gratify the 
ambition that from boyhood had burned within him, In Paris 


BIOGRAPHICAL: NOTES AND INDEX. 67 


he spent several years in study at the Ecole des Beaux-Arts, 
under Alexander Cabanel, and in 1878 exhibited at the Salon 
a picture, the subject of which was taken from the Vendean 
wars of 1793. He returned to New York in 1880, and in 1882 
was elected a member of the National Academy, to whose exhi- 
bitions he had regularly contributed while abroad. His election 
was made upon his exhibit of his important poetical composi- 
tion, ‘‘ Elaine.” Soon after his return he discarded artificial sub- 
jects and foreign inspirations for the material at hand, and pro- 
duced in succession a series of powerful historical compositions— 
studies of negro and of rural life. In 1884, and again in 1889, ; 
two important canvases, the ‘‘ John Brown Being Led to Execu- 
tion,” and an episode of the battle of Gettysburg, ‘‘ In the Hands 
of the Enemy,” marked his career as a painter of history. Both 
are extensively known through reproductions. As a member of the 
New York Etching Club, Mr. Hovenden executed some masterly 
plates after his own pictures. He was a member of the Society 
of American Artists, and of the American Water Color Society, 
and was Professor of Painting in the Pennsylvania Academy of 
Fine Arts, The victim of a tragedy in August, 1895, Mr. 
Hovenden was run over and instantly killed by a railroad train, 
while he was endeavoring to save the life of a child at the town 
of Plymouth Meeting, Pa., where he lived and had a house and | 
studio. F 


No. 37—“Jl’se so happy.” 
No. 329—Chloe and Sam. 


HOWLAND (A. C.), N.A. 


The combination of landscape and genre is what lends its charm 
to A. C. Howland’s art. The alliance is nonetoocommon. Usu- 
ally the landscape is subsidiary to the figures that enlivenit. In 
Mr. Howland’s case they go together; the figures belong in the 
landscape and do not convey the impression of being either put 
there for a purpose of effect, or of having had a background arti- 
ficially created to set them off. The artist’s education was a happy 
preparation for this result. Born at Walpole, N. H., in 1838, 
Mr. Howland studied for some years under Schultz and Eppindale 
in Boston, and in 1860 went to Dusseldorf, where he studied and 
spent some years under Professor Albert Flamm, from whose studio 


68 THE CLARKE COLLECTION. 


he passed to that of Emile Lambinet, in Paris. These two leaders 
in the landscape school of their day were graduates in the paint- 
ing of ‘the figure as well, and their influence was not lost upon 
their pupil. Mr. Howland returned to America from their com- 
bined counsels to open a studio in New York, where he still main- 
tains his residence. His pictures, bright and sunny, pure in color, 
and delicate in touch, and the spirit of refined drollery with which 
he animates his figures, were not long in securing him recognition, 
He made his first exhibit at the National Academy in 1864, be- 
came an Associate ten years later, and in 1882 was admitted as 
an Academician. 


No. 158—A fot Botler. 


INNESS (GEORGE), N.A., deceased. 


How much the American art world owes to the late George Inness 
can never be computed. At a time when men were painting 
anemic, emasculated transcripts of nature, or rather studio recollec- 
tions of the great world outside, he had the courage to break away 
from traditions, to set out on a path he had blazed for himself, and 
to stand on his own theories, evolved after serious thought, analy- 
sis, and experimenting. His life was given to his art as truly 
as ever anyone consecrated existence to one special study. With 
him painting was the single animating impetus. His brain, ever 
active, was occupied day and night with new schemes, fresh theo- 
ries, and endless plans, and all were to one end—picture making. 
Mr. Inness was born in Newburg, N. Y., in 1825, and as a youth 
was apprenticed to an engraver. Never possessing much physical 
strength, he was obliged soon to give up the profession, and oc- 
cupy himself with that which was less confining. Thus it was he 
began to paint. A few lessons from Gignoux was all the study he 
had with a teacher. After that he made his own way, hampered, 
it should be remembered, by ill-health, poverty, and uncongenial 
surroundings, for art in America in his youth was not inspiring. 
At twenty-five he went to Europe, where the ‘‘ men of 1830” were 
working in a direction that at once appealed to him. The rest is 
soon told. He saw, as he had never seen before, the possibilities 
of his profession, and he returned to his native land to paint ina 
manner that at once marked him as an innovator, which, if it 
pleased the few, did not find instant public favor. But his inde- 


BIOGRAPHICAL NOTES AND INDEX. 69 


pendence, his belief in himself, and his passionate love of good 


art carried the day. No man ever cared less for public opinion — 


than did George Inness. The aim of his life was fixed ; his ambi- 
tion concerned itself only with progress. There was never a 
thought of the material side, never a lowering of his high standard. 
Work was his watchword; honesty to himself his most serious 
concern, and, to the last, a canvas never left his studio if he could 
help it. He thought always to better it, always to add a little 
something more. Frequently he would, in repainting, change the 
whole scheme, and destroy the original work in so doing ; but it 
mattered little to him so the active mind was dislodged of the new 
scheme. In the early days of his study he gave himself up toa 
profound application to nature. There was not a tree but he 
analyzed exhaustively. He made a serious study of the anatomy 
of nature, and he knew her thoroughly. When this had all been 
mastered, he gave himself up to expressing his own sentiment 
before the scene. He went out of doors with the certainty of 
being able to put down his notions of the time and place unham- 
pered by any technical difficulties, and the results were poems on 
canvas. It is no exaggeration to say that his work constituted the 
highest product of landscape art in this country in the present cen- 
tury, and from the beginning his progress was logical, sound, and 
brilliant. At sixty-nine years of age, just before his death in 1894, 
he was working in the full power of an unimpaired intellect, with a 
hand more certain than in his youth, more forceful than in middle 
age, as enthusiastic as the youngest student. The reason for his 
success is not difficult to find. In the first place, the man wasa 
genius; nature had given him a wonderfully active mind. He 
might have been as great in any other profession as in art, because 
he brought to all he did so alert a brain and so intelligent a way of 
working. His views of life, of politics, of the various topics of 
which men talk, were expressed so tersely, so intelligently, that 
when he opened his mouth his hearers listened with the closest 
attention. With singular modesty, he found in the work of the 
youngest members of his profession that which he could admire 
and study; he was ever ready to be criticised, and thankful for 
suggestions if they contained soundness and intelligence. But 
appreciation of his work was not confined to his own countrymen, 
At the exhibitions in Europe he was received with great favor ; 
applause came to him from the greatest of his contemporaries on 
the other side of the water, and, though pleasant, it neither elated 
him nor made him vain. To-day his name stands the greatest 


7O 


THE CLARKE COLLECTION. 


among the landscape painters of his own land, and among the 


greatest of the world. His professional brethren have awarded 


him the foremost position, and high praise of his achievements 
rarely, if ever, evokes dissent. From a long and appreciative 
article on ‘‘ George Inness,” in Vol. XIX. of Appleton’s Annual 
Cyclopedia, we may quote the following passages: ‘‘ He was an 
impetuous and passionate painter. A vision rose before him and 
no force could stay the hand outstretched toward the canvas. 
To understand his art we must refer again and again to the 
nervous force, indomitable energy, and perfect absorption of a 
true type of the artistic temperament. Although we have spoken 
of his various periods and change of manner, the fact that his 
last manner was at opposite pole from the first offers no special 
significance for those who recall the successive stages of Rem- 
brandt, or Turner, or Rousseau.” ‘‘Examples of Mr. Inness’s 
art may be seen in the Metropolitan Museum in New York, 
the Corcoran Gallery in Washington, the gallery of the Brook- 
lyn Historical Society, the Chicago Art Institute, and the Cen- 
tury and Union League Clubs, New York ; but a clearer idea of 
his work can be acquired from the study of private colleetions 
like those of Thomas B. Clarke, of New York; James W. Ells- 
worth and Potter Palmer, of Chicago; Thomas Wigglesworth and 
Mrs. S. D. Warren, of Boston; and Sir W. C. Van Horne and 
R. B. Angus, of Montreal. His bibliography is curiously limited. 
Aside from newspaper articles, it consists, for the most part, of a 
report of a conversation with the artist, published by George W. 
Sheldon, in Harper's Magazine for February, 1878 ; an article by 
Charles de Kay, in the Century, a brief biography by Montgomery 
Schuyler, in the forum for November, 1894; a study of his life 
by the author of this article, published in the catalogue of the 
Inness Exhibition in 1884, and an account of personal characteris- 
tics by Mr. Sheldon, published in the Century for February, 1895.” 


. 10o—Delaware Water Gap. 

. 38—Autumn near Marshfield. 

. 44—Sunset in the Valley. 

. 50—White Mountain Valley. 

. 54—Ffath through the Florida Pines. 

. 61—LMWine O'clock. 

. 78-—Showery. 

. 85—Sunset in the Old Orchard, Montclair, 


ee . wees. 
ee ee ee 


‘ No. | 
tax 


As ‘ 


fetish age a ion 
ay 


pe 


Senses 


¥ ge 


No. 
No. 
No. 
No. 


93— Winter Evening. 
Ir 1—LVight. 


. 115—Goochland. 


I 30-—Coming Storm. 


I 50 — Afternoon Glow, Pompton, New Jersey. 
155—Rocky Dell. 


160—Lind of the Rain. 


, 165—Autumn Silence. 


169—TZhe Wood Gatherers. 
177—The Mill Pond. 


. 184—A Sunny Autumn Day. 


. 196—FPool in the Woods. 
199—Moonlight. 
211— Old Homestead, Meafield 


221—The Glow. 
231—TZwilight. 
240—Sepiember Afternoon. 


245—Autumn Tints at Tenafty. 


250—Mew England seeangal 


. 260—Gray Lowery Day. - 
| 266—Harvest Moon. 


3: ae Te Clouded Sun. 


285—Jtalian Landscape. 
. 297—Fassing sealaie 
0. at 1—TZhe Sun. 


331—Brush Burning: 


35r Winter using. Montclair, 
301—Summer Foliage. 
365—Delaware Valley. 
372—After a Summer Shower. 


IRVING (J. BEAUFAIN), N.A., deceased. 


The late J. Beaufain Irving, in his work, was one of the most 
interesting of the American School ; for although he had the advan- 
tage of a European training in the Dusseldorf School, his manner 


72 


No. 


THE CLARKE COLLECTION, 


was essentially French, and he developed his art almost entirely by 
himself, at a time when painters did not, as at present, have the 
opportunities of seeing constantly good work and enjoying congen- 
ial surroundings. He is sometimes referred to as the Meissonier - 
of America, his work showing much sympathy with the panels of 
that distinguished Frenchman. Mr. Irving was born at Charles- 
ton, S. C., in 1826. He was a pupil for some time of Leutze, 
who left in him, however, little traces of his manner of working. 
It was at the close of the war of the Rebellion that he first 
attracted attention as a painter of genre pictures, his initial offering 
being shown at the Academy of Design in 1867. A picture called 
‘The Wine Tasters” secured for him an election as Associate 
of the Academy, and he was made an Academician in 1872. He 
was represented at the Paris Exposition of 1878. Among his 
more important works are: ‘‘ Cardinal Wolsey and His Friends, ” 
‘* Awaiting an Audience,” ‘‘ The Book Worm,” and ‘‘ End of 
the Game.” Although his pictures are modest in proportion, they 
were painted in all the finish possible, and kept at the same time 
broad and full of the larger artistic qualities. He was not without 
appreciation during his life, but since his death the true v2lue of 
his talent and his excellent performances have been more fully 
recognized, until to-day he must be counted as one of the notable 
figures in the history of native art. 


7i— Washington at the Bedside of Colonel Rah. 


JOHNSON (EasTMAN), N.A. 


Born at Lovell, Me., in 1824, he began, when quite young, to 
execute portraits in crayon, and in 1845 was at work in Washington 
producing portraits of national and legislative celebrities. A series 
of portraits of Harvard professors and of literary lights of Cam- 
bridge and Boston followed, and in 1849 he went abroad, where 
his first noteworthy work in oil was produced. For two years he 
studied in the studio of Emanuel Leutze, in Dusseldorf, and spent 
some years more in painting at The Hague and in Paris. His return 
to America was shortly followed by his election to the National 
Academy, which occurred in 1860. From the commencement of 
his residence at home he devoted himself to home subjects, and he 
has produced pictures of high and of humble life, scenes from New 
England harvest fields and Kentucky plantations, huntsmen of the 


BIOGRAPHICAL NOTES AND INDEX. 73 


mountain, and fishermen of the deep waters. During the war period 
he executed many pictures of patriotic inspiration and sentiment. 
His work was always carefully studied and full of genuine feeling. 
His style is entirely his own. In his works of portraiture, Mr. 
Johnson has carried his art to a very high level. His full-length 
portrait of himself, painted at the age of 65, is conceded to be one 
of the most remarkable that our art has produced. His men have 
a dignity, and his women a distinction of character that baffle mere 
description, and his rich and powerful color, his deep and resonant 
harmony of tone, and the splendid precision of his touch, give his 
works a character all their own. In his portraits, as in his compo- 
sitions, he is always picturesque without being artificial, and his 
portrait group of two gentlemen, exhibited at the National Acad- 
emy of Design in 1881, under the title of ‘‘ The Funding Bill,” 
may be instanced as an example of his success in treating portrait 
compositions. Mr. Johnson is a member of the Society of Ameri- 
can Artists,and has his studio and home in New York, with a 
summer residence and studio on the island of Nantucket. He 
has found many characteristic and successful subjects for his brush 
in this quaint region. 


No. 53—Zhe Confad, 

No. 102—Jnéerior of Southern Kitchen. 
No, 265—TZhe Pension Agent. 

No. 366—New England Peddler. 


JONES (FRANCcIs C.), N.A, 


Francis C. Jones, the younger brother of the eminent landscape 
painter, H. Bolton Jones, was born at Baltimore in 1857. He has 
enjoyed a thorough European schooling, having painted under 
Boulanger and Lefebvre, and at the Ecole des Beaux-Arts in Paris. 
He made his début at the National Academy of Design in 1881, 
and in 1885 received the Thomas B. Clarke prize of $300 for his 
picture entitled ‘‘ Exchanging Confidences.” This work secured 
him, also, his election as an Associate. He became an Academi- 
cian in 1894. He is a member of the Society of American Artists 
and of the American Water Color Society, and has his studio in 
New York. Mr. Jones is a painter of American genre of a refined 
and elegant type, especially felicitous in his selection of subjects 


74 


No. 
No. 


THE CLARKE COLLECTION. 


which always illustrate some pleasant episode, in his treatment of 
female figures, and in his portrayal of children. He possesses a 
graceful facility of execution, and his pictures are characterized by 
good color and a luminous quality of light coupled with trans- 
parent shadows. 


45—Lxchanging Conjidences. 
195— Won't Flay! 


JONES (H. Bouton), N.A. 


A native painter of American landscape, who has never been 
touched by any strange fashions in art, is H. Bolton Jones. He 
paints nature for itself and not for the sake of illustrating any 
eccentric theory. He studies form, color, and various character- 
istics, and gives us the result of his investigations in transcripts of 
familiar scenes that are rich in rural charm. His drawing is care- 
ful and correct, his color veracious, and his execution is robust. 
Born at Baltimore, in 1848, and commencing to paint in that city, 
Mr. Jones made his open-air studies from the surrounding country 
his school. He afterwards spent several years painting landscape 
in Brittany, at the once celebrated artist colony at Pont Aven, in 
Finistére. His first appearance at the National Academy of De- 
sign, of which he was chosen a member in 1883, occurred in 1874. 
He is known in France from his exhibits at the Salon, and in 1878 
received commendation for a picture shown by him at the Paris 
Exposition of that year. He has travelled and painted in Spain 
and in North Africa, but it is by his pictures of American land- 
scape that America knows and will remember him. Mr. Jones is 
a member of the Society of American Artists and of the American 
Water Color Society, and has his studio in New York, but spends 
the greater part of the year in the country. He finds most of his 
subjects in New Jersey, and at Magnolia Beach, Massachusetts. 


57—Near Orange, New Jersey, 


. 103— Sandy Shore. 

. 278 —Springtime. 

. 300—Head of a Brook, 
. 324—Lily Fond. 


BIOGRAPHICAL NOTES AND INDEX. 75 


KAPPES (ALFRED), A.N.A., deceased. 


Born at New York city, in 1850, of German parentage, he was 
compelled to turn his attention early to labor for a living. He 
utilized his spare time diligently in study, and in 1874 made his 
first exhibit at the National Academy. His mind was of a serious 
cast, and he selected his early subjects mainly from humble life, so 
full of touching and sad significance. In time he began to find 
favorite material in the quaint and characteristic domestic life of 
the American negro, and in this line of subjects he scored his 
most brilliant successes. At the Academy of Design exhibition of 
1887 he was awarded the first Hallgarten prize. Unfortunately, 
there is a limit of age to the Hallgarten prizes, and this limit he 
had passed, but the honor of the selection remained tohim. While 
devoting himself almost entirely to painting in oil color during 
the last years of his life, Mr. Kappes produced some black and 
white work of great power, notably a remarkable series of illus- 
trations for Tennyson’s ‘‘ Idylls of the King.” He was an Asso- 
ciate of the National Academy, a member of the American Water 
Color Society, and did good work as an etcher. He died in 1894. 


No, 90—~ent Day. 


KEMBLE (EDWARD WINDSOR). 


Born at Sacramento, Cal., 1861. Self-taught. Began as an illus- 
trator on the New York Daily Graphic in 1881, and from 1884 to 
1890 he contributed with much regularity to the Century Magazine. 
Since then he has been represented in Zz/e, Scribner's, and Harper's 
Magazines, and in many other periodicals. Mr. Kemble has made 
a specialty of negro life, one of his illustrated books, ‘‘ Kemble’s 
Coons,” achieving great popularity. His other illustrated books 
include ‘‘ Uncle Tom’s Cabin,” ‘‘ Colonel Carter of Cartersville,” 
*“ Huckleberry Finn,” ‘‘ Knickerbocker History of New York,” 
and others. Mr. Kemble has a studio at New Rochelle, 


No, 163—TZempiation. 


KENSETT (J. F.), N.A., deceased. 


Born at Cheshire, Conn.,in 1818. Beginning life as an apprentice 
to an engraver, J. F. Kensett began his career as a painter with 
seven years of assiduous study in Europe. England, Switzerland, 


76 THE CLARKE COLLECTION. 


Naples, Rome, the Italian lakes, and the Rhine were, at vari- 
ous periods, the scenes of his labors, and in 1845 he made his 
appearance as an exhibitor at the Royal Academy, London, His 
contributions to our own exhibitions secured him an election to 
membership of the National Academy in 1849, and in 1859 he was 
appointed a member of the committee which superintended the 
decoration of the Capitol at Washington. From the time of his 
return from Europe, his professional life was spent in New York, 
and his brush was devoted to American landscape, by which he is _ 
represented in public and private collections throughout the coun- 
try. Many of his pictures have been engraved, and in this form 
have enjoyed wide popularity. Mr. Kensett died in New York in 
1872. 


No. 306—Storm on the Coast at Sunset. 


KOST (FREDERICK W.). 


A New Yorker by birth, F. W. Kost has sought for his material 
and developed his talent in the study of nature in the vicinity 
of his native city. It is from Staten Island especially that he has 
drawn his most attractive and satisfactory material. He is a painter 
of landscape under its dreamier aspect, and its appeal to him is 
direct and never lacking of appreciative response. His landscapes, 
however, are characterized by the soundest of technical methods, 
and by virile execution. He is a member of the Society of Ameri- 
can Artists, and divides his time between his studio in New York 
and his work, face to face with nature, on his favorite sketching 
ground, 


No. 42—WMoonrise, Foxhills, S. 1. 
No. 332—Springtme. 


LA FARGE (Jonny), N.A. 


Born in New York in 1835, Mr. La Farge properly belongs to 
the school of American art which we now regard as old. Yet 
he holds his rank with the foremost members of the newer and 
more advanced school. He had some preliminary experience as a 
pupil of William M. Hunt, and during his frequent visits to 
Europe, since 1856, has been a tireless observer and student of the 


BIOGRAPHICAL NOTES AND INDEX. 77 


older masters, and the quality which pervades his more ambitious 
compositions owes its origin to the impression these studies made 
upon him. Asa student of nature, in landscape, marine, animal, 
and still-life subjects, Mr. La Farge is always original, sympathetic, 
and powerful of execution, and a recent visit to Japan has shown 
him capable of seizing upon a new nature and a new atmosphere 
with as ready a hand as that which he brings to the translation of 
more accustomed scenes. He was well known as an illustrator of 
books before he began to attract attention as a painter, and his 
drawings for Browning’s poems, in 1859, remain a monument in 
American graphic art. A leaning towards decorative art has given 
him fame in the production of many fine mural works, in oil and 
water colors, for public edifices, churches, and private mansions, 
and his productions in stained glass are notably fine. Of these 
last, the memorial windows at Harvard College and in Trinity 
Church, Boston, are striking examples. In his easel pictures, of 
which he now produces comparatively few, Mr. La Farge repeats, 
on a reduced scale, the power and splendor of execution and color 
which he reveals in his larger compositions. He possesses that ele- 
ment called suggestiveness to a remarkable degree, and it has been 
said that even in what he modestly denominates his sketches, he 
always has a definite motive, clearly and forcibly expressed. He 
became a National Academician in 1869, and is a member of the 
American Water Color Society and President of the Society of 
American Artists. His studio is in New York. 


No, 15—TZiger's Head. 
No. 108—Afpple Orchard in Spring. 
No. 270—Autumn. 


LIPPINCOTT (WILLIAM H.), N.A, 


It is some twenty-odd years since Philadelphia was introduced to a 
good old Philadelphia name in a new aspect. At the exhibition of 
1876, at the Pennsylvania Academy of Fine Arts, attention was at- 
tracted to a charming picture entitled ‘‘ The Duck’s Breakfast,” 
which bore the signature of W. H. Lippincott. William H. Lip- 
pincott is a native of Philadelphia, where his earliest studies in art 
were made. He had experimented in various directions, notably as 
an illustrator, and had acquired local distinction as a scenic artist 
for the old Arch Street Theatre before he settled permanently to the 


78 


THE CLARKE COLLECTION. 


No. 


labors of the easel. As a pupil of Léon Bonnat, he spent some 
eight years in Paris, during which time he attracted attention as an 
exhibitor atthe Salon. The fine qualities of drawing and the truth- 
ful color—that is to say, the best of the teachings of Bonnat—were 
reflected in his work, but tempered by an originality of treatment that 
rendered his pictures quite distinctive and characteristic of himself. 
Mr. Lippincott’s early successes were made in portraits of children, 
in subjects of child life, and in genre subjects thoroughly in keep- 
ing with the spirit of the times. His portraits of women also com- 
manded notice for their distinction of character and the strength 
and elegance of their execution, and he has done excellent work as 
a painter of landscape. One of the most original and thoroughly 
artistic canvases of its kind in America is his portrait-picture of 
the children of a prominent financier of Boston, in which a scene 
upon the seashore is made the setting for the family party. Early 
in his career as an artist Mr. Lippincott turned his attention to 
etching. Encouraged by the late M. Cadart, who devoted his 
whole life to the development of this art in France, and to whom 
much of its present perfection is due, he made some essays, on a 
modest scale, which were eminently successful. Of the soundness 
of his methods and the extent of his abilities in this direction, the 
success of his published plates is convincing proof. In all artistic 
affairs he is an active and public-spirited man, and while maintain- 
ing his studio in New York, makes artistic excursions from time 
to time to the European capitals. 


11—ZLoan Collection. 


No. 124—/n Hot Water. 
No. 319—A Garden in June. 


LOW (WILL H.), N.A. 


The sculptor E. D. Palmer, a man whose warm and friendly 
nature made him the sponsor of every promising young artist that 
came under his observation, was the first to extend encouragement 
and advice to Will H. Low. Born at Albany, N. Y., in 1853, 
young Low began working for the illustrated journals in New 
York in 1871. It was on the capital afforded by this employment 
that he went to Europe in 1873. He had some experiences in the 
studio of J. L. Géréme, but the manner and methods of that mas- 


jue” CPPrre Teas: Gear Ae 
MUN LR ae Fare 
a Z ) 34 ‘ 


BIOGRAPHICAL NOTES AND INDEX. 79 


ter not being to his fancy, he joined the group of young disciples 
gathered about Carolus-Duran, among whom he remained until 
1877. Hewas one of the artists whose exhibit at the National 
Academy of Design that year created such a stir, and one of the 
founders of the Society of American Artists, which grew out of 
that exhibition. In portraiture, genre, and imaginative composi- 
tions, the expression of his art is always forcible and sincere, and 
in subjects of a classical and allegorical character, to which he now 
chiefly devotes himself, he exhibits the rarest gifts of sentiment 
and color. Mr. Low has his studio in New York. He was elected 
to the Academy in 1890. Of late years his work has been princi- 
pally in the field of mural painting. His ceilings and panels in the 
Waldorf-Astoria, the Plaza Hotel, and other public or semi-public 
buildings attest his accomplishment in this direction. 


No, 312—’ Meath Apple Boughs ! 


McCHESNEY (CLARA). 


the eighties, there appeared at the exhibitions in New York 
some water colors singularly like the Dutch painters in method 
of handling, and which had a masculine touch of much virility. 
They were found to be by a feminine hand and the artist was Miss 
McChesney. She was born at San Francisco in 1861, and had 
been a pupil of the art schools there, where for some years she had 
worked diligently, and she had come on East to establish herself 
in the metropolis. In 1893 she received a medal at the World’s 
Fair at Chicago, and the following year she was awarded the 
Dodge prize, at the National Academy of Design. Her pictures 
were of humble peasant folk, a mother and child, or old weather- 
beaten sailor, always in some quaint interior, low in key and rich 
in color. These met with success, and the artist finally went 
abroad, passing some time in Holland, studying the Dutch paint- 
ers at home. The work sent back from there shows that she 
has found much congenial material. She is a member of the New 
York Water Color Club, and is prominently identified with the 
Woman’s Art Club of this city. Her work is largely in water 
color, a medium in which she excels, though her work in oil is no 
less attractive. 


No. 122— Spinning. 


80 THE CLARKE COLLECTION. 


McENTEE (JERVIs), N.A., deceased. 


The characteristics of Jervis McEntee’s works are great sincerity 
and deep poetic feeling. The Scotch strain in his blood made him 

‘serious in thought and reverential in sentiment. A subdued yet 
intense enjoyment of nature breathes in the pictures which she 
inspired him to produce. His technique might have been broader, 
but his severest critics have admitted that his sensitive expressive- 
ness could not have been more eloquent. He was born in 1828, at 
Rondout, N. Y. He first learned to paint from Frederick E. 
Church, who had taken his lessons from Thomas Cole. It was in 
1850 that he entered Church’s studio, in New York. In a few 
years he opened a studio of his own. He went to the country for 
his material, and he painted it as he saw and felt it. He was made 
an Academician in 1861, and in 1869 made a brief trip to Europe. 
He died in 18g0, in the enjoyment of a well-won fame. His best 
contributions to American landscape painting will, regardless of 
their intrinsic merit, be found of importance in the commemoration 
of the natural growth and the artificial changes brought about in 
the topography of our country by the march of time. 


No. 337.—Lastern Sky at Sunset. 


McILHENNY (C. Morcan), A.N.A. 


The appreciation in which Mr. McIlhenny’s work is held by his 
associates is made manifest by the many awards that he has re- 
ceived from his fellow-workers. He has had the first Hallgarten 
prize at the National Academy of Design, of which he is an as- 
sociate member ; he received the W. T. Evans prize at the Ameri- 
can Water Color Society in 1893, which was followed by a medal 
from the World’s Columbian Exhibition. He is a member of the 
American Water Color Society as well as of the newer Water Color 
Club, and of the New York Etching Club. With his needle, 
some years ago, he achieved an enviable reputation, etching some 
important plates, some of which were after well-known pictures 
and some original subjects. In both water color and oil he has 
great facility, with a distinctly personal manner, much out of the 
commonplace. Avery careful workman, he permits nothing to 
leave his studio until he has expressed the last word he is capable 
of saying. As a consequence, he is not very prolific, and his pic- 
tures are eagerly sought after. He hasa studio at Shrub Oak, N. Y. 


No. 81— Old Friends. 


we 


BIOGRAPHICAL NOTES AND INDEX. 81 


MARTIN (HOMER D.), N.A., deceased. 


One of the very first American painters to release himself from the 
influence of the old school of landscape painting, and to find his 
medium of expression in the impressionistic sentiment of the school 
of poetic naturalism, was Homer D. Martin. He was born in 
Albany in 1836. He studied painting under William Hart, became 
an Associate of the National Academy in 1868 and an Academician 
in 1875, and was one of the founders of the Society of American 


_ Artists in 1877. His earlier works were thoroughly in keeping 


with the teachings and the theories of the so-called Hudson River 
school, but, having independently cut away from teaching and 
teachers, he created an interpretation of nature for himself, by 
which he will always be identified. His pictures show very often 
the reflection of a pensive and melancholy mood, but are invariably 
fine in harmony and intense in feeling. They are, perhaps, the 
first true expressions of what we know in art as impressionism 
found in this country, but it must be noted that they have none of 
the harshness of color so often seen in the works of that class. 
Mr. Martin’s studio was in New York. He died in the West in 
1897. 


6—On the Coast. 
89—Adirondack Scenery, 
95—Du Clair-sur-Seine. 
162—A Brook in France. 


. 201— Headwaters of the Fludson. 


216—Wild Cherry Trees. 
345—Lndian Summer. 


MAYNARD (GEORGE WILLOUGHBY), N.A. 


Going abroad at an early age, George Willoughby Maynard received 
his first tuition as a pupil of Edwin White, in Florence, Italy. He 
subsequently went to Rome, and from there found his way to Ant- 
werp, where he was enrolled as a student of the Royal Academy. 
Here he studied for some years, leaving in 1878 for Paris, where he 
took a studio. He had been represented in the Centennial Exhi- 
bition in Philadelphia, in 1876; and to the Paris Exposition of 
1878 he sent an important canvas. At this time he was painting 
portraits, among his sitters being the late Kate Field, and Frank 


6 


ST fawk, 


82 


THE CLARKE COLLECTION. 


D. Millet, whom he represented in his campaign dress as corre- 
spondent of the London Dazly News. On his return to America 
he painted genre subjects and did illustrative work, and after a 
time, being possessed of strong decorative tendencies, he found his 
services in demand for mural work in public buildings and private 
residences. The results of his labors in this direction may be seen 
in the Waldorf-Astoria and Manhattan Hotels, as well as in the 
Congressional Library in Washington. He received the Evans 
Prize at the Water Color Society Exhibition in 1889, and has had 
many recompenses. He is a member of the Society of American 
Artists, and was elected an Academician in 1885, 


No. 43—Circe. 

No. 107—Sea Witch. 
No. 198—Zhe Mermaid. 
No. 333—acchante. 


MIDDLETON (STANLEY). 


Born in Brooklyn, Stanley Middleton received his first lessons in 
art in his native city. Later he studied in Paris. He painted much 
in the country, especially in Brittany, and it was by his Breton 
peasant subjects that he first drew attention to himself in the 
American exhibitions. In 1885 he made his first noteworthy 
exhibit, at the exhibition of the American Art Galleries, in Madison 
Square. His studio is in New York, 


No. 96—Lefreshment. 


MILLER (CHARLES H.), N.A. 


At the National Academy exhibition of 1860, a picture was exhib- 
ited which secured notice as the work of a young amateur, then a 
student at a medical college. The painter was Charles H. Miller, 
born in New York in 1842, who had taken to painting as a relief 
from his medical studies. In 1863 he graduated, and began prac- 
ticing as a physician, but the spell of art was strong upon him. In 
1864 it drew him to Europe, and when he returned it continued to 
exercise its influence, with the result that, in 1867, he finally 
abandoned the medical profession and went to Munich to study 


No. 


BIOGRAPHICAL NOTES AND INDEX. 83 


painting. He became a pupil of Professor Lier, and later studied 
in Vienna, Leipsic, Berlin, Dresden, and Paris. In 1873 he was 
made an Associate of the National Academy, and in 1875 became 
an Academician. He had now returned to America and settled 
in New York, where he still has his studio, devoting himself to 
American landscape, and especially to that of Long Island and the 
vicinity of the city of his residence. His Long Island subjects 
constitute, practically, a history of the changing aspect of nature in 
that locality, and are of the greatest interest as well as artistic 
value. His landscapes are characterized by mellow color quality 
and synthetic treatment. 


3—Harvesiing. 


No. 116—A Rainbow. 


MILLER (FRANCIS), 


The first exhibit of Francis Miller at the National Academy of De- 
sign was made in 1883. He had found his way to New York from 
Columbus, Ohio—where he was born in 1854—by way of the Penn- 
sylvania Academy of Fine Arts and the studio of Carolus-Duran in 
Paris. He devoted himself to pictures of American life and char- 
acter, of which he proved himself a shrewd observer. He was one 
of the founders of the Pastel Club, in which medium he has worked 
with success. His productiveness has not been great, and the few 
pictures that he has given to the public maintain the standard 
established by the work by which his status was first defined in our 
exhibitions. 


No. 243—A Local Freight Caboose. 


MILLET (Francis Davis), N.A. 


At the National Academy Exhibition of 1881, a large portrait, by 
George W. Maynard, introduced, in picturesque costume, the 
war correspondent of the London Daily News to the New York 
public. In another part of the same galleries there was hung a 
fine, large, full-length portrait of Miss Kate Field, from the easel 
of the war correspondent himself. The painter of the latter work 
with the double gift of brush and pen was Francis D, Millet, born 


84 


THE CLARKE COLLECTION. 


at Mattapoisett, Mass., in 1846, and a graduate of the Royal Acad- 
emy of Antwerp as a pupil of Van Lerius and of De Keyser. As 
early as 1872 and 1873 Mr. Millet had gained his silver and gold | 
medals, and in 1878 he had served as the American art juror at the 
Paris Exposition. His experience as a correspondent during the 
Russo-Turkish War, and his literary work, are but side issues to 
his art, to which he has remained steadfast. In 1882 he was ad- 
mitted into the National Academy of Design as an Associate, and 
was elected an Academician in 1885. In 1883 he exhibited a new 
departure in his art, in a composition of classical character called 
““The Story of GEnone.” This he followed by many other charm- 
ing works in the same vein, the result of which is to be seen in 
the now quite common spread of the neo-Greek idea in our art, 
Dividing his time between America and Europe, Mr. Millet next 
made an artistic discovery. In England he found a forgotten and 
picturesque village, which has provided him with the inspiration 
and the setting for his more recent works. Here, at Broadway, 
in Worcestershire, ‘‘the garden of England,” he lives and works. 
He makes periodical visits to the United States, and in 1898 
went to Manila as the war correspondent of the London 7imes. 
He is a member of the Society of American Artists and of the 
American Water Color Society. 


No. 172—Lacing Her Sandal. 


MINOR (ROBERT C.,), N.A. 


A New Yorker, born in 1840, and a pupil of Diaz in Paris and of 
Van Luppen and Boulanger in Antwerp, R. C. Minor is always a 
painter of a poetic and tender sentiment, with a profound feeling 
for color. His works have in them qualities of luminosity, depths 
of tone, and ripeness and vitality of color, that carry one out of the 
domain of modern landscape with its impressionistic affectations on 
the one hand, and its photographic imitativeness on the other, 
back to the days when Marilhat painted from his palette of gold, 
and when Rousseau and Diaz, Dupré and Decamps were at their 
best. The secret of his power is that, like them, he feels nature as 
well as sees it, and paints it with heart as well as hand. He is, 
perhaps, at his best in his sunsets, when from the fading glory of 
the sky a penetrating warmth and mellowness pervade the landscape, 
harmonizing it into an idyl of restfulness and peace. Mr. Minor 
is almost the only one of our landscape painters who fully repre- 


BIOGRAPHICAL NOTES AND INDEX. 85 


sents the school of Barbizon ; that isto say, the special school of the 
Fontainebleau painters, as distinct from the entire class of painters 
of 1830. In his work he revives the traditions of his school with a 


loving hand, simplicity of subject, sincerity of feeling, and vigor of 


execution refined by tenderness of touch. His studio is in New 
York, and in summer he works in a picturesque country near New 
London, Conn. He is a National Academician, and a member of 
the American Water Color Society. He has achieved a distinct 
reputation as an etcher. 


No, 127—Sunset. 


MOELLER (LEO). 


At one time a pupil of the schools of the National Academy, Mr. 
Moeller subsequently went to Paris. One of the first subjects he sent 
to the Academy exhibition in New York on his return was ‘‘A 
Patriot of Valley Forge.” It gained for him the second Hallgarten 
prize in 1897. This able young painter must not be confounded 
with Louis Moeller, N.A., who took a similar prize at the Academy, 
and who is so strongly represented in this collection, 


No, 224—A fatriot at Valley Forse. 


MOELLER (Lowuts), N.A. 


In the spring exhibition of 1884, at the National Academy of 
Design, the sensation of the display was a little panel, scarcely more 
than a foot square, called ‘‘ Puzzled.” The painter, Louis Moeller 
by name, had exhibited at the Academy the year before for the first 
time, but without attracting much attention, and this work came 
upon the art-loving public asa revelation. In characterization and 
expression the single figure represented was of masterly strength ; 
the painting of the details was wonderfully minute and accurate, 
while the general suggestion of breadth in the execution of the 
picture was not impaired. The artist is a New Yorker by birth, 
the son of a decorative painter from whom he had his first lessons 
inart. He studied drawing at the National Academy, and after- 
wards spent six years in Munich, painting under the American 
artist Duveneck, and the German professor Dietz. His first pic- 
tures were executed on a large scale, and showed him to be a 


86 THE CLARKE COLLECTION. 


draughtsman of great skill and accuracy, and a painter of good 
color and firm touch. Upon his return to New York, he almost | 
immediately abandoned his large canvases for the other extreme, 
and his pictures of cabinet size showed in what direction his true 
vocation lay. To these small works he brings the correctness and 
strength of drawing and handling he showed in his larger produc- 
tions. His complete knowledge of the human figure, and the 
precision of his technique, when condensed into work of this 
minute character, give it that amazing brilliancy and quality which 
have been recognized in Meissonier, as the result of a similar 
foundation of knowledge. Mr. Moeller was, in 1884, the first 
recipient of the first Hallgarten prize of $300 for his ‘‘ Puzzled,” 
and was elected an Associate of the Academy. He was made an 
Academician in 1895. He followed ‘‘ Puzzled” with a series, more 
choice than numerous, of cabinet pieces, which confirmed his repu- 
tation and increased the esteem in which he was held alike by 
artists, critics, and connoisseurs. His studio is in New York. 


No. 25—Hesttaton. 
No. 41—Grattude. 
No. 47—Stubborn. 

No. 110—Amazement. 
No, 128—Jnformation. 
No, 161—Argument. 
No. 194—Vews. 

No. 212—ffello / 

No. 267—FPuzzled. 

No. 281—Connotsseurs. 
No. 352—/nspection. 
No. 362—Diusagreement. 


MOORE (H. HUMPHREY). 


Born in New York in 1844, Mr. Moore began his art studies at an 
early age in New York and in San Francisco. He went to Munich 
in 1865, spending some time there, and subsequently entered the 
Fcole des Beaux-Arts, under J. L. GérOéme. Later he went to 
Spain, where, at Madrid, he met Fortuny, the famous painter, 
with whom he established a friendship which ripened into intimacy. 


BIOGRAPHICAL NOTES AND INDEX. 87 


He became his pupil and went with him to Rome. After this he 
devoted some years to the study of Moorish life, and in 1875 re- 
turned to the United States. He has received several official 
recompenses, including a medal at the Centennial Exhibition of 
1876, in Philadelphia. He enjoys considerable popularity, and his 
work is well known both here and in Europe, He lives abroad. 


No. 299—A Moorish Guard. 


MORAN (LEON). 


Leon, the younger son of the distinguished Philadelphia artist, 
Edward Moran, and brother of Percy Moran, was born in Phila- 
delphia in 1863. He enjoyed the tuition of his father and of the 
National Academy of Design, and has had the advantage of obser- 
vation and study during several visits to Europe. Like his elder 
brother, his talent displayed itself at an almost precocious age, and 
his pictures were known and popular with the public before he 
had crossed the boundary line of the voting age. Graceful drawing, 
bright color, and a brilliant touch, allied with delicate execution, 
distinguish his productions, and landscape finds in him a sympa- 
thetic interpreter. In compositions of an episodic character he dis- 
plays strong dramatic instinct and spirited handling. He has ex- 
perimented in etching with success, and many of his pictures have 
been reproduced by that process by his own and by other hands. 
He is a member of the American Water Color Society, and has 
his studio in New York. 


No. 151—LZe/ Fishing at Twilight. 


MORAN (PERCY). 


A member of one of the most productive and gifted artistic families 
of our time, Percy Moran comes by his talent in the natural course 
of heredity. Heisason of the eminent marine and figure painter, 
Edward Moran, and was born at Philadelphia in 1862. He studied 
under his father, under the artist Stephen J. Ferris, at the National 
Academy of Design, in New York, and at the Pennsylvania Acad- 
emy of Fine Arts. He has. also lived and painted abroad, in 
France and England. ‘He began to figure as an exhibitor in oils 
and in water colors while still a youth, and commanded notice by 


88 : THE CLARKE COLLECTION. 


his remarkable appreciation of the picturesque, and his clever and 
spirited handling. In 1886 he received the first Hallgarten prize 
at the National Academy of Design. In subjects from our colonial 
period, and especially where types of youthful feminine beauty are 
prominent, he has produced some of the most charming and 
characteristic compositions. known to our art. Some of his scenes 
of rural life are also of the first quality of local color and character. 
Asan etcher he has executed plates of a high order of skill and 
style. He is a member of the American Water Color Society, and 
has his studio in New York. 


No. 80—Azn Old Time Melody. 


MORAN (THomas), N.A. 


Commencing in his youth as a wood engraver’s apprentice, in 
Philadelphia, Thomas Moran taught himself to paint in water 
colors and afterwards in oils. He had some inspiration and en- 
couragement in his work from his elder brother, Edward, who, 
under instruction from James Hamilton and Paul Weber, had ac- 
quired sufficient proficiency to set himself up as a landscape and 
marine painter. In 1862 Thomas Moran visited England, of which 
country he was a native, having been born in Lancashire and 
brought to the United States when a boy seven years of age. He 
devoted this visit to the study of the old masters in the English 
galleries, and brought back a vivid impression of Turner’s works, 
which was reflected in his paintings of this period. In 1866 he made 
another European tour, this time travelling extensively in France and 
Italy, and in 1871 made those explorations of the great West, with 
Professor Hayden’s expedition, which resulted in his ‘‘ Grand 
Cafion of the Yellowstone,” now in the Capitol at Washington, and 
other powerful works, including the celebrated ‘‘ Mountain of the 
Holy Cross.” Throughout his life the grandest phases of American 
scenery have engaged Mr. Moran’s attention, He has painted 
Niagara, at the falls and at the Whirlpool rapids; the coast 
under the most tremendous aspects of tempest, and the sea awful in 
the throes of storm ; the splendid luxuriance of the tropics, and 
the bitter bleakness of the lands of icebergs and eternal frost. His 
frequent visits to Europe have resulted in many fine compositions, 
especially of scenes in Venice, where he has made several 
sojourns. His etchings have placed him at the head of the 
craft upon the Western Continent. In 1872 Mr, Moran removed 


BIOGRAPHICAL NOTES AND INDEX. 89 


his studio from Philadelphia to New York, where he still maintains 
his winter headquarters, his summers being spent at his country 
seat and studio at Easthampton, L. I. He became a National 
Academician in 1884, and among other societies is a member of 
the Pennsylvania Academy of Fine Arts, and of the Artists’ Fund 
Society, of Philadelphia ; of the American Water Color Society, the 
New York Etching Club, and the Society of American Etchers, 


No. 23—Lasthampton, 
No. 317—Vera Cruz, 


MOUNT (W. S.), N.A., deceased. 


One of the first painters of genre in America, William S. Mount 
was one of the most orginial. He was born at Setauket, L. I., 
in 1807, studied at the National Academy, and made his bow to the 
public at that institution with a pretentious Biblical composition 
entitled ‘* The Daughter of Jairus.” He speedily found his way 
into the right track, however, and gave himself up to the delinea- 
tion of the life he knew best, from familiarity with it from child- 
hood. His pictures of negro character were redundant with quaint 
humor, and his studies of village and rural manners and character 
were always lifelike and enlivened by a touch of genial drollery. 
Mount had his studio in New York city for nearly forty years, 
setting his easel up in 1829, and dying in 1868, and when the 
Academy exhibition of that year opened it revealed two excellent 
works from his brush, which had just been finished when death 
called him away. He had long ceased to be a regular exhibitor at 
the Academy of Design, the great popularity of his pictures pre- 
venting them from remaining on his hands, 


No. 26—An Axe to Grind. 


MOWBRAY (H. Stppons), N.A. 


The award of the Thomas B. Clarke prize, at the National 
Academy in 1888, was made to a young artist who had commenced 
his contributions to the exhibitions of that institution a few years 
before. H. Siddons Mowbray was born in 1858 at Alexandria, 
Egypt, of English parents, but was brought to this country, when 
a child, by his uncle, He lived at North Adams, Mass., and 


go 


No. 


THE CLARKE COLLECTION. 


received an appointment to the U. S. Military Academy at West 
Point. He gave up his prospective career as a soldier, however, 
after the first years of the course, and took up the study of art. 
He enjoyed the advantages of a thorough schooling under Léon 
Bonnat, in Paris, and when he set out to make his own career, 
did so in complete independence of school and master. His eye 
was attuned to an almost prismatic refinement of color, and his 
command of form was of the most subtle and delicate description. 
His first National Academy picture, which was entitled ‘‘ Alad- 
din,” was perhaps the rarest piece of purely fanciful, inventive, 
and tender gayety of color that had, until that time, been seen on 
the gallery walls. It was a page from the dreamy fantasticality of 
romance native to the East, that reminded one of Beckford’s 
‘‘Vathek,” and of the ‘‘ Arabian Nights.” In a somewhat differ- 
ent vein of invention, but in the same feeling of dainty light and 
color, was ‘‘ The Evening Breeze,” which took the Clarke prize 
two years later, and made the artist an Associate of the Academy. 
Mr. Mowbray is a member of the Society of American Artists. 
He was made an Academician in 1891. Of late years he has been 
devoting a great part of his time to mural painting, and in this 
branch of art has achieved a remarkable success. His sterling 
quality of drawing and attractive color are notable features of his 
work in every category. Some cabinet portraits of women of a 
high degree of refinement and skillful execution still further attest 
the versatility of his talent. His studio is in New York, 


16—Schehera-Zade. 


No. 180—TZhe Evening Breeze. 
No. 236—Zhe Last Favorite. 
No, 364—A/ladain. 


MURPHY (J. FRANcis), N.A. 


The very first exhibits of J. Francis Murphy, at the National 
Academy of Design, in 1876, indicated the coming of a new talent 
into the domain of American landscape painting. That the indica- 
tion was not deceptive is evidenced by the fact that in the Academy 
exhibition of 1885 Mr. Murphy secured the second Hallgarten 
prize, and that, in 1887, the first award of the prize of $300, 
founded in the Society of American Artists by Dr. W. Seward 
Webb, for the best landscape in the annual exhibition, fell to him. 


BIOGRAPHICAL NOTES AND INDEX. gr 


Mr. Murphy is a native of Oswego, N. Y., born in 1853. He is 
self-taught, and has made a tour and painted abroad, but his 
American landscapes, strong in character and color and poetic 
in treatment, are the works by which he is to be judged. He 
was elected an Associate of the National Academy of Design in 
1885, and became an Academician in 1887. He is a member of 
the American Water Color Society, and has his studio in New 
York. 


No. 32—A Wet Autumn Day. 
No. 109—A Sunny Morning. 
No. 229— Woods tn Autumn. 
No. 371—Ociober, 


NEWMAN (ROBERT L.). 


Born in Richmond, Va., and one of the veterans in the history of 
American art. He was a pupil of Thomas Couture, in Paris, and 
has made a profound study of the old masters. His work is specially 
to be remarked for a fine sense of color, as he paints in a rich, low 
key fanciful subjects which he invests with a powerful personality, 


No. 183— Woman and Love. 


OCHTMAN (Lronarp), A.N.A. 


A native of Holland, brought up in Albany, N. Y., Leonard Ocht- 
man began his study of art in that city, continuing it in New York. 
He made his initial appearance at the National Academy, in 1882, 
as a painter of landscape, and exhibited there and at the water 
color exhibitions regularly for some years. His pictures were al- 
ways agreeable in their selection of subject and in their color and 
effect, and betrayed in him the possession of an abundant talent 
that was steadily shaping itself. The experience of a couple of 
years’ study in Europe sent him back to his adopted country with 
his art ripened and his ideas refined by contact with, and examina- 
tion into, the great art of the continent, and the advance he had 
made was demonstrated by the first works he executed after his 


Q2 


THE CLARKE COLLECTION. 


return, Mr. Ochtman has his studio in New York, and is a mem- 
ber of the Society of American Artists and an Associate of the 
Academy. 


No. 1 ep as ulumn. 
No, 268—Moonlight Shadows. 
No, 282— October. 


PALMER (WALTER Launrt), N.A. 


A son of the eminent sculptor, Erastus D. Palmer, Walter L. 
Palmer was born at Albany, N. Y., in 1854. He learned drawing 
from his father, painted for a time with Frederick E. Church, and 
finished out his student years under the instruction of Carolus-Duran, 
in Paris. He became known as an able painter of still-life and 
landscape, and after some years of general work in these fields, com- 
menced to give the greater portion of his attention to winter land- 
scapes, in which he has been exceptionally successful. He has an 
acute sense of light and color, and excels in the delineation of the 
sharper and brighter effects of the season, the strong contrasts of 
light and shade that go with sharp frosts under sunlight. Still, 
though this is his most popular line of productiveness, he has per- 
formed equally good if less distinctive work in other directions, 
and is an able painter of the figure. Upon his return from Europe 
he opened a studio in New York, but he now lives and works in 
Albany. He was elected an Associate of the National Academy 
in 1887, on the occasion of his taking the second Hallgarten prize, 
and isa member of the American Water Color Society and of the 
Society of American Artists) He was made an Academician in 
1897. He has been awarded medals at Chicago, Philadelphia, 
Boston, and Nashville. He won the Evans prize of the Water 
Color Society in 1895. 


No. 67—/anuary. 


PARTON (ARTHUR), N.A. 


A conscientious technician, careful of detail, who yet does not lose 
the spirit in the elaboration of the facts of the scene, is Arthur 
Parton the landscape painter. His sympathies are essentially with 


BIOGRAPHICAL NOTES AND INDEX. 93 


peaceful rural subjects, the margins of meadow brooks, and the 
thicketed edges of fields, rather than with the more severe and 
dignified phases of scenery, although he has painted this latter 
class with excellent results. Indeed, one of his finest and most 
effective pictures was a scene upon the Hudson River in mid- 
winter, which had a strong dramatic quality of composition 
and effect. But it is in the friendly glow of sunlight, or among 
summer fields mellowed by the shadows of cloud-mottled skies, that 
he is happiest in his labors. Mr. Parton was born at Hudson, 
N. Y., in 1842, and studied under William T. Richards, in Phila- 
delphia. In 1869 he made a visit to Europe ; in 1872 became an 
Associate of the National Academy, and in 1884 an Academician. 
He is a member of the American Water Color Society, and has his 
studio in New York, although he resides in the country and does 
much of his painting there. 


No. 17—Apple Blossoms 

No. 137—Haying. 

No. 2 33—Summer Clouds 
No. 283—Ffassing Shower. 


PAULI (RICHARD), deceased. 


A painter of landscape of a high degree of sentiment, Richard 
Pauli was born in 1855, in Chicago, Ill. He came of a German 
family of scholars in the north of the Empire. He began life in 
trade in the West and accumulated by his industry the means to 
educate himself as an artist. He studied and painted for some 
years in France, under F. L. Francais, and enjoyed advice and 
encouragement from Daubigny, in the last years of the life of 
that immortal painter of spring madrigals and the harmonies of 
water and sky. He exhibited first at the Salon of 1880, and for 
some years after his return to this country, while he won the enco- 
miums of artists, failed to secure the public eye to any extent. His 
pictures found their way only into chosen collections. They exhib- 
ited, at that period, a reflection of his foreign study and its influ- 
ences, and while he produced a number of canvases of spirit and 
strength, it was evident in them that the painter was still per- 
plexed within himself. Mr. Pauli abandoned his studio in New 
York, and, in his country home, among the New Jersey meadows 
and woodlands, a new life entered into his art. Always an admir- 


94 THE CLARKE COLLECTION. 


able technician, he was at no loss for the expression of his new 
ideas. He painted nature both as he saw it and as he felt it, 
strong with its strength, tender with its tenderness, and always 
with something in it that revives for the spectator the ripple of 
water, the rustle of leaves, the carol of unseen wild birds, and 
that indescribable perfume of the earth that makes one yearn 
to leave the town behind. His studio and home were in Bergen 
County, N. J., near New York. He died in 1892, 


No. 5—Aainy Day. 
No. 271—Harvesting. 


PEALE (REMBRANDT), N.A., deceased. 


Rembrandt Peale, who was born in Bucks County, Pa., in 1778, 
was a pupil of his father, Charles Willson Peale, and later, like so 
many of the early American painters, of Benjamin West, in Lon- 
don. He lived through ten years of the last half of this century, 
and died in Philadelphia in 1860. He was thus a link of the past 
with the present. He painted General Washington from life. 
At the beginning of the century he lived in Paris, and painted 
many of the celebrities there. Perhaps the best known of his. 
canvases is a large composition called ‘‘ Court of Death,” which 
was taken about the United States and exhibited in almost every 
large city. He also wrote several books, among them ‘* Notes on 
Italy,” a biography of his father, and ‘‘ Reminiscences of Art and 
Artists.” His portraits include many of the most famous Ameri- 
cans of his time, with a number of foreigners, and his name will 
be remembered favorably with the pioneers of art in his native 
land. Among others of his sitters were Thomas Jefferson, Com- 
modore Perry, Dr. Houghton, Thomas Sully, Martha Washing- 
ton, Commodores Bainbridge and Decatur, General Armstrong, 
and the sculptor Houdon. 


No. 357—George Washington. 


PEARCE (CHARLES SPRAGUE). 


At the Salon of 1881 an Honorable Mention was accorded a picture 
by an American pupil of the Bonnat studio. During this year 
the same artist received medals at Philadelphia and Boston, and, 


BIOGRAPHICAL NOTES AND INDEX. 95 


indeed, he had already been medalled in the last-named city in 1878. 
Charles Sprague Pearce was born in Boston in 1851. He settled 
in Paris, whence he has made excursions as far afield as Algiers, 
wintering and painting on the Nile and in Italy and Spain, con- 
tributing regularly to the Salon and sending his pictures to his 
native country for exhibition. He has painted Oriental and peasant 
subjects with an equal degree of success, and done strong work in 
portraiture. In feminine types he exhibits an especially delicate 
perception, and his clear, pure color and polished execution lend 
themselves to this class of motives with exceptional readiness. He 
is a member of the Society of American Artists. He has been 
medalled at the Salon and at various European exhibitions, and is 
represented by one of his works in the national collection of France. 
He is a Chevalier of the Legion of Honor. For several years past 
he has resided and worked at Auvers-sur-Oise, where he has a 
country house. 


51—fivalry. 


No. 136—Meditation. 


PICKNELL (Wit L.), A.N.A., deceased. 


Europe, which sends back to us so many denationalized talents 
and ambitions which find their level in imitation rather than 
creativeness, has conferred at least one boon upon our art in 
the person of W. L. Picknell. Born in Boston in 1853, Mr. 
Picknell, some fifteen years ago, crossed the Atlantic to enter on a 
formal course of training in his art. Under George Inness, two 
years in Italy ; under Géerome in Paris for a brief period, and then 
forth to nature, at Pont Aven, in Brittany, with the guidance of 
Robert Wylie, that genius who died all too young—such was the 
programme which, after ten years, sent to the exhibitions of the 
Salon and to our own galleries pictures so fuil of fibre, truth, and 
power that those who could see clearly at once hailed the painter 
as a man of the future. The earlier exhibits of Mr. Picknell 
showed very clearly the influence of the Brittany colony in 
which he painted. The impasto was frequently heavy. The 
handling was sometimes hard. But in them you were sure to find 
skies that vibrated, and light that flashed and gleamed. Now, the 
vibrating skies and the quivering light remain, along with a refine- 
ment of treatment and a power of expression that secure results 


96 THE CLARKE COLLECTION. 


which the old extravagances of technique could never obtain. In 
1880 his ‘‘ The Road to Concarneau”’ won him his first Salon honor 
in the shape of an Honorable Mention, and in 1882 he returned to 
America and opened a studio in Boston. After that, he painted 
American subjects, both figures and landscapes, with a wide range 
of material, extending from New England to Florida. Mr. Pick- 
nell was a member of the Society of American Artists and an Asso- 
ciate of the Academy. His Salon picture of 1898, exhibited after 
his death, has just been purchased by the French government for 
the Luxembourg Gallery. Mr. Picknell died in 1897. 


No. 279—Zhe Road to Concarneau. 
No. 363—Sunday Morning. 


POORE (HENRY R.), A.N.A. 


The second Hallgarten prize at the National Academy of Design, 
in 1883, fell to H. R. Poore for his picture of a pack of fox 
hounds, the usual admission to an Associateship following upon 
this recognition of his merit. The artist is a native of Newark, 
N. J., and was born in 1858, He became a pupil of the National 
Academy in 1876; in 1877 commenced a longer course of study 
at the Pennsylvania Academy and in the studio of Peter Moran, 
and in 1883 entered the studio of the historical and ethnographical 
painter Luminais, in Paris. He began as a painter of landscape, 
but eventually took up animal subjects, commonly with an effective 
landscape setting. His knowledge of animal anatomy is extensive ; 
his drawing firm and correct ; his color agreeable, and his technique 
of a vigorous character. Since the termination of his studies in 
Europe he has had his studio in Philadelphia, 


No. 241—Baying Hounds. 
No. 292—A March Hillside. 


POST (W. MERRITT). 


Born in Brooklyn in 1857, Mr. Post began the study of painting at 
the Art Students’ League, subsequently painting in the studio of H. 
Bolton Jones, whose influence is more or less apparent in his work, 


5 ide peste 
ae 


ee ge 


BIOGRAPHICAL NOTES AND INDEX. 97 


il 


though his canvases are in no sense imitative. Mr, Post isa mem- 
ber, and was one of the organizers, of the New York Water Color 
Club, of which he has long been an officer. He is also a member 
of the older organization, the American Water Color Society, at 
the exhibitions of which he is a frequent contributor. He confines 
himself strictly to landscapes, making his specialty more or less of 
spring and autumnal scenes, the charm and beauty of which he 
realizes with sentiment and fidelity, He has a studio in New 
York. 


No. 98—A Breezy Day. 


RANGER (HENRY W.). 


Henry W. Ranger began his career in his father’s photographic 
gallery in Syracuse, where he showed artistic taste in posing sitters. 
He is a native of New York State, and entirely self-taught. Al- 
though acknowledging no master, Mr. Ranger has travelled exten- 
sively, and has been deeply impressed by the work of the older 
masters and by that of the modern Dutch artists. He has painted 
much in Holland, and is favorably known by low-toned canvases 
of exceedingly fine quality of color. Of recent years few of his 
pictures have found their way to public exhibitions, although 
he is represented in most of the private collections in this country, 
and in not a few in Canada. He is a member of the American 
Water Color Society. His landscapes are often shown in club ex- 
hibitions, and every year or so there is an exhibition of his work 
in some one of the dealers’ galleries. In 1898 such an exhibition 
was given in London, and there is to be one there this year. 


No. 256—/orenoon, 


REID (ROBERT). 


Born at Stockbridge, Mass. Pupil of Boulanger and Lefebvre, 
Paris. Awards and honors: medal, World’s Columbian Exposi- 
tion, 1893 ; special medal for decoration, World’s Columbian Ex- 
position ; the Clarke prize of 1897, and the first Hallgarten prize 
of 1898, at the Academy of Design. Some years ago Mr. Reid 
turned his attention to decoration, examples of his work in the 


7 


98 THE CLARKE COLLECTION. 


Church of the Paulist Fathers, the Fifth Avenue Hotel, and the 
Congressional Library at Washington, giving him an inl aeckivms 
position in his profession, 


No, 12 1—Landscape. 


RICHARDS (WILLIAM T.). 


Born in Philadelphia in 1833, at the age of twenty Mr. Richards 
began his art studies, spending the year 1855 in Europe, from 
whence he returned to open a studio in Philadelphia. He is an 
honorary member of the Academy of Design, and an active mem- 
ber of the American Water Color Society, and is represented in . 
most of the public galleries of this country. One of his pictures 
is owned by the Museum of Haarlem, in Holland. He received a — 
medal at the Centennial Exhibition in 1876, the Temple medal at 
the Pennsylvania Academy in 1885, and a bronze medal in Paris, at 
the Universal Exposition of 1889. Mr. Richards is a marine 
painter of much distinction in both oils and water color, drawing 
the sea in its different aspects with profound knowledge of its form 
and movement. He has painted much of the coast of his own land, 
as well as that of England. In particular he has studied the rocky 
shores of Newport, R. I., where he has a studio, 


No. 295—Marine. 


ROBBINS (Horace WoLcott), N.A. 


An artist of refined artistic sympathies, with an original and descrip- 
tive style, H. W. Robbins has taken a high place among the land- . 
scape painters of America. Although on each parental side a 
descendant of the earliest New England settlers, he was born in 
Mobile, Ala., and later lived in Baltimore, of which place his 
parents became residents. Mr. Robbins, at the age of eighteen, 
settled in New York, and studied for a short time with James M. 
Hart. He soon opened a studio of his own, and in 1864 was made 
an Associate of the National Academy of Design. A friendship 
with Frederick E. Church made him, in 1865, a companion of that 
artist on his visit to the island of Jamaica, for the purpose of © 
sketching West Indian scenery. Leaving Jamaica, he visited 
Europe, studying the old masters of landscape in Holland, and 


BIOGRAPHICAL NOTES AND INDEX. 99 


opening a studio in Paris, where he enjoyed the advice and acquaint- 
anceship of Rousseau, Diaz, Harpignies, and other celebrated 
artists. He became a National Academician in 1878, and has 
held the offices of Secretary and Vice-President. He is a member 
of the American Water Color Society and the Artists’ Fund Society. 
His American landscapes are full of dignity and character, fine in 
color, and careful in execution. In his New England and his Adi- 
rondack subjects he has produced some splendid transcripts of the 
grander phases of our natural scenery. 


No. 316—Mountain and Valley, 


ROGERS (F. W.) 


Animal life and character have engrossed the art of F. W. Rogers 
since he passed out of the studios of his masters to open one of his 
own. He was born at Cambridge, Mass., in 1854, and was first 
a pupil of J. Foxcroft Cole, in Boston, in 1873, and later of 
Thomas Robinson. He has largely confined his exhibition of his 
works to Boston, where he has his residence and studio, and to 
New York. He was one of the first of the painters in New Eng- 
land to make a specialty of dog portraiture, and in all his delinea- 
tions of animal life is noted for accurate characterization and great 
expressiveness. 


No. 141—Jndisposed, 


RYDER (ALBERT P.). 


Born at New Bedford, Mass., in 1847, A. P. Ryder emerged into 
art from commercial life as a pupil of William E. Marshall and of 
the National Academy of Design. From the former, himself a 
pupil of Couture and an eminent painter and engraver of portraits, 
he secured the foundation of color by which his productions are 
most powerfully characterized. He enlarged his artistic horizon 
by tours of Europe in 1877 and 1882, and has achieved a unique 
position as a painter of highly imaginative subjects, of profound 
richness of color, majestic tonality, and serious and elevated mean- 
ing. He is essentially a painter with a purpose, and the purpose 


100 THE CLARKE COLLECTION. 


is always a worthy and valuable one. Mr. Ryder is a member of 
the Society of American Artists, and has his studio in New York. 


No. 39—TZemple of the Mind. 
No. 349—Christ Appearing to Mary. 


SHIRLAW (WALTER), N.A. 


A native of Paisley, Scotland, born in 1837, Walter Shirlaw came 
to America in company with his parents, and as a boy of fourteen 
years was apprenticed by them to bank note engraving. He had 
already studied drawing to good effect, and perhaps even his some- 
what mechanical labors contributed to extend his knowledge. In 
such leisure time as he could find, he studied in the National Acad- 
emy schools. After completing his apprenticeship, he worked for 
a time as an engraver in the employ of the Western Bank Note 
Company, of Chicago, and for a year officiated as an instructor in 
the academy in that city. A journey to the Rocky Mountains 
in 1859 resulted in the production of many studies and some pic- 
tures, and in 1861 he first appeared at the National Academy of 
Design as an exhibitor. In 1870 he went to Munich, where he 
studied with Roah, Wagner, Ramberg and Lindenschmidt, and 
painted many original works, which were received with approval 
by the German critics. His ‘‘ Toning the Bell,” and ‘* Sheep 
Shearing in the Bavarian Highlands,” two capital works which 
brought him into favorable notice in America, were executed dur- 
ing this period of his career. He returned to America in 1877 
with the tide which swept such a current of new ideas into the 
placid stream of American art, and was made an Associate of the 
National Academy in 1878. He became an Academician ten years 
later. He was one of the organizers and the first President of the 
Society of American Artists, an early member of the American 
Water Color Society, and isa member of the Chicago Academy. 
A large portion of Mr. Shirlaw’s time has lately been given to 
teaching, and he has proved himself one of the most efficient in- 
structors in America. As an etcher he holds unique rank. He 
has furnished many designs for the illustrated periodicals, and pro- 
vided some series of drawings for publications of the higher order 
of literature of unusual artistic quality. The productions of his 
easel include many pictures of a fine decorative feeling, portraits, 
genre works and studies from nature, all of striking originality, 


BIOGRAPHICAL NOTES AND INDEX. IOL 


bold and fluent technique, and powerful and harmonious color, 
Mr. Shirlaw has his studio in New York. 


No. 303— Cronies. 


SIMMONS (EDWARD). 


Born at Concord, Mass., Mr. Simmons went to Paris in the latter 
part of the seventies and studied under Boulanger and Lefebvre, 
in whose school he took a gold medal. The prize given by the 
Municipal Art Society of New York for mural decoration in the 
Criminal Court Building was awarded to Mr. Simmons, and re- 
sulted in an important decoration for that building. Mr. Sim- 
mons, further, decorated with admirable taste and talent the smaller 
ballroom of the Waldorf-Astoria Hotel, and executed a series of 
panels for the new Congressional Library in Washington. To 
these, he has added decorations for private houses in this and other 
cities. As a draughtsman, Mr. Simmons stands in the foremost 
rank of living artists, and in color his equipment is scarcely less 
remarkable. He brings to his art work high intellectual qualities, 
and his compositions are marked by serious, scholarly, and artistic 
attributes. He spent several years of his artistic life at St. Ives, 
Cornwall, Eng., where he painted the sea and shore with marked 
success and much personality of observation, He graduated at 
Harvard in 1874. Studio in New York. 


No. 338—TZhe Passing Train. 


SMEDLEY (WILLIAM T.), A.N.A. 


The service of the newspapers was the principal schooling William 
T. Smedley enjoyed in art. After studying in the schools of the 
Pennsylvania Academy of Fine Arts he came to New York as a 
draughtsman for the illustrated publications, after having taught 
himself to draw by the example of draughtsmen already skilled in 
their art. His eye for character was keen ; he possessed a vein of 
delicate drollery, and an active invention, and soon won the popu- 
larity which these elements command for an artist. Having forti- 
fied himself as an illustrator, he set himself the task of becoming 
a painter, and his works in water color and in oil attested to his 
diligence in study and the success which he must win. After a 


102 THE CLARKE COLLECTION. 


trip to Australia in the interest of an illustrated publication relating 
to that country, he returned to America by way of Europe, spend- 
ing a couple of years in study, principally in France. He resumed 
his residence in New York to take his place among the leading 
young painters of the day. Mr. Smedley is a native of Chester 
County, Pa., and was born in 1858. He first exhibited at the 
National Academy in 1881. He is a member of the Society of 
American Artists and of the American Water Color Society, and is 
an Associate of the National Academy. 


No. 147—Embarrassment. 
No. 206—Sight Seeing. 


SMILLIE (GEorGE H.), N.A. 


A son of the famous line engraver, James Smillie, George H. 
Smillie was born in the city of New York in 1840. At an early 
age he entered the studio of James M. Hart, and has spent the 
greater part of his professional life in New York. He sketched 
in the Rocky Mountains and in the Yosemite Valley in 1871, and 
in 1874 made a visit to Florida. Painting in both oil and water 
colors, he is a National Academician since 1882, and a member 
of the American Water Color Society since 1868. His pictures 
combine artistic skill and poetic feeling in a high degree, and are 
marked by an agreeable cheerfulness of color and brightness of 
effect. His landscapes and coast subjects are completely national 
in character, and are among the most satisfactory representations 
we have of the many pleasing phases of our gentler rural scenery. 


No. 187—Low Tide. 
No. 237—Landscape, Easthampton, L. J. 
No. 326—/rom Grindstone Neck. 


SMITH (F. HOpxKINSON). 


Born in Baltimore in 1838, Mr. Smith is self-taught in his art, which 
is mainly confined to water color painting. He is a member of the 
American Water Color Society, of which organization he has held 
the office of treasurer, and he possesses a facility in the medium 
quite unexcelled. Mr. Smith is a many sided man, having taken in 


BIOGRAPHICAL NOTES AN D INDEX. 103 


recent years a high position in literature, and being in great demand 
asa lecturer. He has also conducted successfully some important 
business enterprises. His water colors have met with great favor, 

- his annual exhibitions in New York and other cities attracting much 
attention. He was a prominent member of the now defunct Tile 

- Club, and contributed many illustrations to the accounts of the pil- 

' grimages of that unique organization. He has also contributed 
illustrations to the magazines of the day. Nis studio is in New 
York. : 


No. 143— Water Color, 


SMITH (HENRY P.). 


Born in Waterford, Conn., in 1854, Mr. Smith came to this city as 
a lad, and at an early age began to paint. He is quite self-taught, 
and his first exhibit was made in the American Water Color Society, 
of which he is a member. Mr. Smith confines his work in these 
days almost entirely to landscapes, although some of his pictures in 
earlier years of the open sea attracted considerable attention. His 
more recent work shows a strong affiliation with the men of the 
Barbizon School, though it is in no sense an imitation. He is a 
man who has always enjoyed much public favor, and his pictures 
have been eagerly sought for. Studios in New York and near 
New London, Conn. 


No. 302—TZhe Oaks—Late Afternoon: 


_ SONNTAG (WituaM L.), NLA. 


Born in western Pennsylvania, in 1822, and entirely self-taught. 
In 186r he became a National Academician, He is a landscape 
painter with a manner quite original, and his pictures have been 
purchased by many people of prominence. Specimens of his work 
are in the collections of the Duke of Buckingham, Abram Adams, 
Jay Cook, of Philadelphia, and the late John H. Sherwood, of 
New York. 


No. 242—Sunit Valley. 


104 THE CLARKE COLLECTION. 


STETSON (CHARLES WALTER). 


A special exhibition of works by Charles Walter Stetson, made in 
New York in 18go0, and at other places since, has directed public 
attention to an original personality in our art. Mr. Stetson is the 
son of a New England clergyman, and was born at Tiverton, 
R. I., in 1858. Hecommenced to dabble in colors as a schoolboy, 
and in 1878 opened a studio in Providence, R. I., where he still 
resides, His career has been one of hardships and reverses, man- 
fully overcome. His daring originality of expression required time 
to secure acceptance. While practicing painting he did good work 
as an etcher, and the success of his plates eked out the deficit left 
by the failure of his pictures. In Boston and elsewhere he found 
a small circle of admirers, thanks to whom he secured an outlet for 
his productions, which enabled him to continue his studies, and he 
added to his income by painting portraits. In Mr. Stetson we have 
a colorist of whom the future should have a story to tell. It is 
often color which requires modifying, but it is always harmonious, 
even when it lacks tenderness. The combinations are just, even if 
they be at times a little too sonorous for supersensitive nerves, 


No. 140—Out of Consecrated Ground. 


STUART (GILBERT), deceased. 


It is said that few of the early American painters escaped, at one 
time or another, entering the studio of Benjamin West, in London. 
Stuart was no exception to the rule. Born in Rhode Island in 
1755, he studied at first with a Scotchman named Alexander, and 
in 1775 West had him as an assistant. His talent, however, far 
exceeded that of his master, and ten years later found him installed 
in the English capital, with a painting room of his own, where he 
had a great success. Hecame home later, and his name is now 
associated with the portraits of the Father of his Country, of whom 
he painted many fine likenesses. But he did not stop here; he 
painted all the contemporary celebrities, including men in all walks 
of life. A prolific producer, he has left behind many examples of 
his industry and talent that worthily represent him. He was the 
best product of his times, and his work has since scarcely been ex- 
celled by any of his countrymen. Thoroughly artistic, he drew well, 
and his color possessed virility, combined with refinement and dis- 
tinction. He approximated more nearly to the qualities possessed by 


BIOGRAPHICAL NOTES AND INDEX. 105 


Sir Joshua Reynolds than any of the men of his day, and Sir Joshua 
was the name at that time with which to conjure. But Stuart was 
serious and earnest, and he held to a personality of his own which 
gave great charm to his portraits. He likewise secured the char- 
acteristics of his sitters, and he obtained all with simplicity and 
directness. He died in Boston, July 27, 1828. 


No, 356—Senator Young. 


SULLY (THOMAS), deceased. 


Thomas Sully, one of the celebrated early American painters, 
though born in England in 1783, was brought here at the age of 
nine, studying his art at first in Charleston. He made many trips 
abroad, in 1838 painting Queen Victoria from life in her corona- 
tion robes. The picture is now in possession of the St. George’s 
Society in Philadelphia. Among his portraits are those of La- 
fayette, Fanny and Charles Kemble, Thomas Jefferson, Commo- 
dore Decatur, and Charles Carroll of Baltimore. One of his impor- 
tant works is ‘‘ Washington Crossing the Delaware.” Mr. Sully 
died in 1872. 


No. 261—Jortrait of a Man. 


TARBELL (EDMUND C.). 


Born in West Groton, Mass., in 1862, Mr. Tarbell early went 
abroad, where he entered the Atelier Julian, in Paris, and became a 
pupil of Boulanger and Lefebvre. On his return, some years 
later, he took a studio and settled in Boston, and almost imme- 
diately became a prominent figure in American art. In 1890 he 
was awarded the Thomas B. Clarke prize at the National Academy 
of Design, and in 1894, at the same institution, he was awarded 
the first Hallgarten prize. He was honored with a medal at the 
World’s Fair in 1893, and in 1895 he received the gold medal at the 
Philadelphia Art Club, his picture being purchased for the perma- 
nent collection there. These, however, are only a few of his 
recompenses, for he has received medals in Boston and other cities. 
Studio in Boston. 


No. 253—Amethyst. 


106 THE CLARKE COLLECTION. 


THAYER (ABBOTT HANDERSON), A.N.A. 


Mr. Thayer’s talent is one of delicate suggestiveness. His pictures. 
charm us not only for what we see in them, but for what they make 
us think we see. There is something quite fastidious about his 
delicacy. His landscapes are dreams of Arcadian restfulness, and 
his female types are pearls among women. Everything about his 
art is dainty, tender, and serene. Born in Boston in 1849, he 
studied in that city under Henry D. Morse; in Brooklyn, under 
J. B. Whittaker ; and in New York, at the Academy of Design | 
and under L. E. Wilmarth. Going, in 1875, to Paris, he painted 
under Lehman and Géréme, two of the last masters one would 
imagine, upon the evidence of his work, that he could have served. 
But the man who had begun to paint from nature when a child, 
could protect himself from imitating the paintings of others. Mr. 
Thayer commenced as a painter of animals, cattle, and landscape, — 
and grew into a painter of the figure. In male and female por- 
traiture, he has produced works of capital importance. He isa 
member of the Society of American Artists, and an Associate of 
the Academy. His studio is at Scarboro, on the Hudson, 


No. 74—Roses. 
No. 354—Lihan. 


TIFFANY (Louis C.), N.A. 


First a pupil of the late George Inness, Mr, Tiffany, who was born. 
in New York in 1848, studied later in Paris, under Léon Belly. He 
is a member of the Water Color Society, of the Society of Ameri- 
can Artists, and of the National Academy of Design. Extensively 
travelled, he has brought back with him sketches of many lands, 
and made numerous pictures of foreign parts. For many years he 
was a regular contributor to most of the exhibitions, but for some 
time past he has occupied himself with interesting experiments, 
mainly in glass, in which he has secured remarkable practical re- 
sults. These have been noticeable in stained glass windows from 
his own designs, as well as from those of others, and in new shapes, 
colors, and textures of Favrile glass, His achievements in this 
last medium have attracted much attention not only in this coun- 
try, but abroad. 


No. 238—View on the Hudson. 


BIOGRAPHICAL NOTES AND INDEX. 107 


TREGO (WILLIAM T.). 


The military subjects of William T. Trego made a distinct im- 
pression upon the public at the New York exhibitions from their 
first appearance there some years since. They were spirited in char- 
acter, and executed with skill and force. The artist is a native of 
Pennsylvania, born at Yardley, in Bucks County, in 1859. He 
became a pupil of the Pennsylvania Academy of Fine Arts, where 
he worked from 1879 until 1882, and his first exhibit was made in 
the galleries of that institution in the latter year. In the accom- 
plishment of his work, which is marked by strength, firmness, and 
force, he has had to overcome physical infirmities that would have 
made a less brave and earnest character halt at the threshold. He 
has contributed to the Paris Salon, the National Academy of 
Design, and to other exhibitions with invariable success. His 
studio is at North Wales, Montgomery County, Pa, 


No. 325—Battery Forward. 


TRYON (DwicuT W.), N.A. 


If the approval of his fellow-painters constitutes good evidence 
of excellence, Mr. Tryon’s position in American art is fixed. No 
man has been awarded more prizes. At the National Academy ; 
at the Society of American Artists ; at the World’s Fair in Chicago, 
and other exhibitions in that city; in Munich, and elsewhere, he 
has had medals and money awards. Happily his ability is de- 
termined by something more enduring ; for in his work there is the 
genuine feeling of one who is close to nature; who has mastered 
the difficulties of his art, and who is able to express what he feels 
with directness and force. Mr. Tryon was born in Hartford, Conn., 
in 1849. He has had the advantage of foreign study with such 
Frenchmen as Daubigny and Harpignies, and the experience that 
comes with life in the most artistic country in the world—France. 
Upon his return to New York in 1881, he made an impression im- 
mediately, and this favorable estimate formed of him then has suffered 
no diminution. With the years he has gradually matured in style, 
mellowed in tone, and rounded out so that he is nowin the full 
of his powers. In recent club exhibitions in this city, where his 


108 


THE CLARKE COLLECTION. 


pictures have been placed side by side with the best foreign work, 
they have stood the test admirably and more than held their own, 
Mr. Tryon, since the death of George Inness and A. H. Wyant, 
may be ranked, perhaps, as the foremost living American landscape 
painter. His work contains all those larger qualities that go to 
make up good art. Invention he possesses to an unusual degree, 
for his study of nature has been profound, and his keen eye has re- 
tained much that he has seen ; he has sentiment of a tender quality 
and in a technical way he is well equipped. A combination of 
these important factors produce, it is needless to say, something 
near the consummation looked for in a painter of the first rank. 
While eclectic in his manner of working, and restricting his admira- 
tion to no one school, Mr. Tryon has retained a personality quite 
his own, with an expressive touch that suits his motifs unusually 
well. His renditions of atmosphere are distinguished ; his work is 
even, much more so indeed than that of most painters, and he 
rarely fails to secure all of the charm of the time and the place he 
depicts. It is difficult to analyze the qualities that go to the mak- 
ing of a distinguished composition ; they are to be felt rather than 
to be dissected, but there is never a doubt of their presence. No 
great work is without them; they rise superior to technique, to 
drawing, and, curious as it may seem, even to color itself. Few of 
Mr. Tryon’s canvasses escape some suspicion of distinction ; most 
of them possess it to a large degree, and one has only to carefully 
study his work to be convinced of his seriousness, and his un- 
affected genuineness in all that he has put forth. Mr. Tryonisa 
National Academician, and a member of the Society of American 
Artists. His studio is in New York, but he spends the time from 
early spring to late autumn at South Dartmouth, Conn., where he 
has a country home and studio. Ma 


52—Lighted Village. 
gi—TZhe End of Day. 


. 117— Starlight. 

. 138—LVovember. 

. 179—Dewy Night. 

. 252—Autumn. 

. 273—Winter Evening. 

. 313—LVewport at Night. 

. 343—Lvening. 

. 369—Return Home at Twilight. 


BIOGRAPHICAL NOTES AND INDEX. 109 


TURNER (CHARLES YARDLEY), N.A. 


No painter has been more successful in delineating the poetic side 
of American feminine character than C. Y. Turner. Mr. Turner 
has for some years distinguished himself by his refined and sym- 
pathetic rendition of some of the most charming female types of 
American poetry and fiction, and he has given us several important 
compositions in the same field, notably his ‘‘ Priscilla and John 
Alden,” which is widely known through the etching by James S. 
King, and his ‘‘ Marriage Procession,” from the same poem, which 
he etched himself upon a scale previously unknown in this country. 
Thoroughly American in spirit as he is, Mr. Turner still owes the 
development of his art to European influences. He was born in 
Baltimore in 1850, and became a student at the National Academy 
of Design and at the Art Students’ League, in this city, where he 
won commendation by excellent draughtsmanship and a sound 
sense of color, previous to his passage across the Atlantic. In 
Paris he became, successively, a pupil of Jean Paul Laurens, of 
Munkacsy and Bonnat, and in 1882 his first exhibit of original 
work at the National Academy was accepted as his valid title to 
recognition. This exhibit consisted of two pictures. One, a 
** Scene on the Grand Canal, Dordrecht,” showing the milkmen and 
women returning to their boats after the day’s delivery of milk, was 
a forcible and characteristic study of a picturesque feature of 
Dutch life. The other, ‘‘ The Days that are no More,” represent- 
ing a young widow and her little son descending the stile from a 
country graveyard, brought forward the sentimental side of the 
artist’s nature. While a painter of a realistic tendency, and in 
everything a devoted student of nature, Mr. Turner has never been 
content with the mere substance of things, but has modelled, 
modified, and adapted them to his own imaginative and creative 
moods. He became an Associate of the National Academy in 
1884, and an Academician in 1886. He is also a member of the 
American Water Color Society, and of other artistic associations, 
and has his studio in New York city. Of late years he has been 
almost entirely occupied with mural painting, notable work in this 
line of his creation being in the Waldorf-Astoria Hotel, the Manhat- 
tan Hotel, and in some of the large office buildings in the lower part 
of the city. 


No. 73—Gossip in the Lane. 


110 THE CLARKE COLLECTION. 


TYLER (J. G.). 


Born in Oswego, N. Y., in 1855, Mr. Tyler was a pupil of A. 
Cary Smith, with whom he first began to study in 1871. Nine 
years later he first exhibited at the National Academy of Design. 
He has given himself up mostly to marine work, having spent much 
time in the study of the sea and of naval architecture, 


No. 97—Cloudburst. 
No. 200—first American Shipwreck, 


ULRICH (CHARLES F.), A.N.A. 


At the spring exhibition of the Academy of Design in 1880 
appeared for the first time a young New Yorker, a painter of 
modern genre works of a singular brightness and elegance of 
execution, named Charles F. Ulrich. He was the son of a German 
photographer, who had himself practiced painting in former years, 
and was born in New York in 1858. Young Ulrich was taught 
drawing by Professor Venino, a well-known master in his day, 
studied in the National Academy schools, and in 1873 went abroad, 
where he remained for eight years. He studied at Munich, under 
Professors Lofftz and Lindenschmidt, and exhibited his first pictures 
in German exhibitions, commencing with that of Dusseldorf in 1880. 
His cabinet pieces, full of character, minute in execution, and 
brilliant with their rendition of light, were entirely new to our art, 
and may be said to have marked a new departure in it. Without 
being in any sense imitations, they showed that the artist had been 
a close student of the old Dutch detail painters of the type of Van 
der Meer and Pieter de Hooghe. His manner and matter were, 
however, entirely modern. He followed his first successes with 
his ‘‘ Glassblowers,”’ which was one of the notable pictures at the 
Academy in 1883, and which afterward received high praise in 
Paris, and, in 1884, secured the Thomas B. Clarke prize upon its 
first award, with a picture of the immigrant station at Castle Garden 
called ‘‘ In the Land of Promise.” His picture of the interior of a 
Venetian glass factory was awarded the $2,500 prize at the Ameri- 
can Art Galleries in 1886, and is now in the collection of the Metro. 
politan Museum of Art, New York. Mr. Ulrich was elected an 
Associate of the National Academy in 1883, and was one of the 


BIOGRAPHICAL NOTES AND INDEX. Itt 


founders of the Pastel Club. Some years ago he returned to Europe, 
and now has his studio in Venice. 


No. 77—Amateur Etcher. 
No. 166—Gyranny. 

No, 251—Géassblowers. 
No. 359— Spinner. 


VEDDER (ELIHU), N.A. 


A vigorous, independent, and ambitious nature, and a marvelously 
acute esthetic instinct have combined to carry Elihu Vedder through 
a youth beset with obstacles, to one of the high places in our art. 
He was born in New York, in 1836, of a family descended from 
one of the old Dutch settlers. His talent asserted itself early, and 
he commenced as a boy to study art by himself. He next had 
some experience as a pupil with T. H. Matteson, at Sherbourne, 
N. Y., and spent a couple of years in Europe, studying the masters 
in Italy, and painting under Picot,in Paris. He was recalled to 
America by the necessities of existence, and setting up a studio in 
New York, endeavored to continue his studies and support himself 
by drawing on wood for publishers. After a bitter battle, he came 
out victor, and in 1865 won his reward by being admitted into the 
National Academy. He is also a member of the Society of Ameri- 
can Artists. He has had his studio in Rome for many years, but 
has made several visits of considerable duration to this country. 
His designs for the ‘‘ Rubaiyat of Omar Khayyam” constitute one 
of the triumphs of his career. This series of fifty-six drawings pro- 
vided the public with a veritable artistic sensation upon their exhibi- 
tion in the United States. They are a monument to the artist’s 
opulence of ideas, and to his ideal and intellectual powers, and, 
although they lack the charm of color, are otherwise thoroughly 
representative of him. Asa painter, Mr. Vedder is essentially a 
creator, strengthened by a discreet application of the naturalistic 
tendency of the time. Many of his works touch the loftiest poetic 
notes, and all are thoughtful and rich in meaning. He is a colorist 
of the riper order, and complete in his command of the technical 
resources of his art. The spirit of the older masters is revived in 
him, tempered by modern ideas. Latterly he has devoted a great 
part of his time to mural painting and to making color cartoons to 


112 THE CLARKE COLLECTION. 


be executed in mosaic. Prominent among his decorative works 
are the panels and mosaics in the new Congressional Library at 
Washington. 


No. 126—Ze Mistral. 


VOLK (Douctas), A.N.A. 


A charming picture in the National Academy exhibition of 1881, 
now called ‘‘ The Puritan Maiden,” but then characterized merely 
by a poetic quotation, represented Douglas Volk. In the display 
of the following year he exhibited a sort of sequel to the subject. 
The artist had commenced exhibiting at the Academyin 1880. He 
was the son of a well-known sculptor, was born at Pittsfield, Mass., 
in 1856, and had studied in Paris at the Ecole des Beaux-Arts 
under J. L. Géréme, and had also spent some time at work in 
Rome. His first public appearance had been made with a Breton 
subject, at the Salon of 1876, and he exhibited other compositions 
of the same material at subsequent Salons previous to his return to, 
and settlement in, New York. Mr. Volk isa member of the Society 
of American Artists, and has a studio at present in New York. He 
spent some seven or eight years at Minneapolis, Minn., where he 
organized and directed a flourishing art academy. 


No. 88—Accused of Witchcraft. 
No. 318—Zhe Puritan Maiden. 


WALDO (SAMUEL L.), A.N.A., deceased. 


Although a native of Connecticut, where he was born in 1783, and 
received his first art instruction, Samuel Waldo settled and lived 
for some time in Charleston, S. C. In 1806 he went to London, 
where he painted portraits for three years, returning to New York 
in 1809, to open a studio. He continued painting portraits, many 
of the former Mayors of the city having been limned by his brush. 
These may be seen in the City Hall.to-day. Other work is in the 
possession of the New York Historical Society, 


No. 262—Ffortrait of a Lady. 


Dar tara 


BIOGRAPHICAL NOTES AND INDEX. 113 


WALKER (Horatio), N.A. 


Mr. Walker was born in 1858. He is more or less self-taught, and 
has always enjoyed a large measure of popularity. He is a member 
of the National Academy of Design, of the Society of American 
Artists, and the American Water Color Society, where, in 1888, he 
was awarded the Evans prize, having previously received a gold 
medal at the competitive exhibition at the American Art Galleries. 
He also received a medal and diploma at the World’s Fair in 1893. 


No. 131—Landscape and Cattle. 


WALKER (HEnry O.), A.N.A. 


A native of Boston, Henry Oliver Walker has had the advantage 
of a Paris training under Léon Bonnat, in whose classes he worked 
for several years. He travelled extensively abroad, painting for a 
season in Brittany. Mr. Walker returned to America, settling at 
first in Boston, but he subsequently took a studio in this city, 
where he is now installed. He is an Associate of the National 
Academy of Design and a member of the Society of American 
Artists. In 1895 he took the Thomas B. Clarke prize at the Na- 
tional Academy of Design, and when the commissions were given 
out for the decorations for the Congressional Library in Wash- 
ington, he was assigned the panels illustrating Lyric Poetry. 
These were ably carried out, and remain a permanent monument 
to the artist’s scholarly attainments and artistic taste. A well- 
equipped draughtsman, Mr. Walker unites to fine appreciation of 
line a most agreeable and refined color sense, distinctly decorative 
in its tendencies, and wholly original. At the World’s Fair, in 
1893, he received a medal and diploma. 


No. 125—Gir/ and Kitten. 


WATROUS (Harry W.), N.A. 


A native of New York city, and a graduate of Paris art schools, 
H. W. Watrous first commanded attention at American exhibitions 
some years ago by figure pieces of cabinet size, executed with deli- 
cate brilliancy of touch, and in a bright and agreeable scheme of 
color, A happy selection of subjects, and polished technical skill 


8 


114 THE CLARKE COLLECTION. 


in their rendition, speedily gave him a place of prominence among 
the younger artists of the day. Since his return from Europe he 
has had his studio in New York. He has served upon numerous 
art committees in clubs and institutions, and has been very active in 
the advancement of art in the United States. He is at present the 
corresponding secretary of the National Academy of Design. 


No. 305—Day Dreams. 


WEIR (J. ALDEN), N.A. 


The son of an American artist, Robert W. Weir, N. A., of the 
foremost distinction in his time, J. Alden Weir was born in 1852 
at West Point, where his father was official art instructor at the 
Military Academy. From the tutelage of his father, he passed to 
the Ecole des Beaux-Arts, where he became a pupil in the studio of 
J. L. Gérdme. At the age of thirty he won an Honorable Men- 
tion at the Salon, and he was one of the strong body of young 
American artists who made the distinct impression on our art that 
resulted in the creation of the Society of American Artists, of which 
he was one of the founders. He has received prizes at the Ameri- 
can Art Association and at the American Water Color Society’s ex- 
hibitions, and at the Universal Exposition of 1889, in Paris, was 
awarded bronze and silver medals. His works in portraiture are 
of a rare and original quality, and his studies of still life, and 
especially of flowers, are characterized by a unique vitality of color 
and great simplicity of treatment. He became a National Aca- 
demician in 1886. Heis a member of the American Water Color 
Society, and has his studio in New York. 


No. 75—Si#ll Life. 
No. 322—Soses. 


WELDON (CHARLES D.), N.A. 


Born in Ohio, C. D. Weldon became known to the public first as a 
draughtsman for the press. He studied painting under Walter 
Shirlaw in New York, and Munkacsy in Paris, and made his début 
asa painter at the National Academy of Design in 1883. His 
pictures display a picturesque choice of subject, good color, and 
firm execution. The narrative quality acquired by the artist in his 
work as an illustrator lends them invariable expressiveness. Mr. 


BIOGRAPHICAL NOTES AND INDEX. I15 


Weldon has his studio in New York and is a member of the Ameri- 
can Water Color Society. He has spent several years abroad, prin- 
cipally studying in Japan, and was elected an Academician in 1897. 


No. 358—Dreamiland, 


WEST (BENJAMIN), deceased. 


The career of Benjamin West is, perhaps, the first romance in 
American art. The plain facts of his life are a story in themselves. 
The son of pioneer parents, born at Springfield, Pa., in 1738, his art 
yearnings found vent even in a log-house in a savage wilderness. 
As a boy of seven he drew the portraits of the family. He learned 
to grind and mix colors of earth from a wild Indian, and made the 
brushes, with which he applied his pigments, of the hair of the fam- 
ily cat. At the age of eighteen, having had some rude instruction 
from a painter named Williams, who was, perhaps, less of a real 
artist than himself, the youth established himself in Philadelphia 
as a portrait painter. He prospered sufficiently to be able to travel 
to New York, where he found further patronage, that enabled him 
to visit Italy in 1760. There he remained until 1763, when he set- 
tled in London. He won the favor of the king who was to wage 
bitter war against his native country, and enjoyed that favor until 
it made him independent and powerful. During thirty years he is 
said to have gained from the Royal Family alone the enormous 
sum of nearly $200,000, equivalent to a million as values go to- 
day. He wasone of the founders of the Royal Academy in 1768, 
and when Sir Joshua Reynolds died in 1792 succeeded him as 
President, holding the office nearly twenty years. He was an in- 
defatigable worker, and earned huge sums in portraiture and by the 
sale of his compositions, independent of the profits of royal patron- 
age. There are 400 historical and religious pictures credited to 
him, and innumerable portraits. He was, perhaps, strongest in 
portraiture, but in his creative work was a noteworthy and influen- 
tial figure for his time. His weaknesses were those of the epoch 
in which he lived; his merits were his own. He died in Lon- 
don in 1820, leaving English collections, public and private, full of 
examples of the art which had begun in a settler’s cabin in the 
American wilderness and ended in a palace made princely by the 
munificence of regal favor, secured, possibly, as much by his di- 
plomacy and personal attractiveness as by the merit of his produc- 


116 THE CLARKE COLLECTION. 


tions. Judged by his time, Benjamin West was, however, a great 
painter. With the advantages of our own era to develop him, he 
would have occupied a relatively important position in our modern 
art world. 


No. 355—Z) he Expulsion from Eden. 


WHITTREDGE (WoRTHINGTON), N.A. 


Mr. Whittredge was born in Ohio in 1820, and entered mercan- 
tile life in Cincinnati at an early age, studying art in his leisure 
time. He finally abandoned the desk for the easel, and became a 
portrait painter in that city. In 1850, having accumulated some 
means by his art, he visited Europe, studying in London and Paris 
in the public galleries, and later becoming a pupil of Andreas Ach- 
enbach in Dusseldorf. He remained three years under this artist, 
after which he painted in Belgium and Hollandand in Rome. In 
1859 he returned to America, and settled in New York, and the 
same year was admitted into the National Academy, becoming its 
President in 1874, and holding the office for three years. In 1866 
he made a sketching tour of the far West, and some of his most 
successful works were drawn from that section of the country. He 
is a conscientious student of nature, devoted to his art, and his 
pictures always express a sincere and true motive. He is one of 
the most successful as well as one of the most original American 
painters of landscape. 


No. 193—Summer Evening. 
No. 321—Home by the Sea. 


WIGGINS (CARLETON), A.N.A. 


Born at Turners, N. Y., in 1848, Carleton Wiggins is, in art, largely 
a creation of himself. He began drawing at the National Academy 
in New York, and painting under his own direction, and first 
exhibited at the Academy in 1870. After 1880 he spent a few 
years in Europe, more as an eclectic student of the public galleries 
than as a pupil of anybody in particular, and since his return he 
has given to us some of the most vigorous and artistic pictures of 
the picturesque places he visited that have been produced on this 


BIOGRAPHICAL NOTES AND INDEX. I1l7 


side of the Atlantic. That the artist was born in him his produc- 
tions show. He is a painter of landscape in its best feeling, as 
well as of that animated brute nature which adds to its picturesque- 
ness. Indeed, there are simple landscapes of his that have in 
themselves a distinct and individual value. But a man of a broad 
and active intelligence, with a technical skill ripened by discretion 
and experience, he sees nature in her various forms with clear 
eyes, and translates her with the sympathy that comes only from 
real love. Whatever he sets his brush to he does thoroughly. He 
is a member of the Society of American Artists and an Associate of 
the Academy. His studio is in New York. 


No. 235—Harvest Moon. 
No. 291—White Cow. 


WILES (IrvinG R.), N.A. 


The son and pupil of the well-known artist Lemuel M. Wiles, 
Irving R. Wiles was born in Utica, N. Y., in 1862. From his 
father’s studio he graduated to the schools of the Art Students’ 
League of New York, and thence went to Paris, where he spent 
two years in study under Jules Lefebvre and Carolus-Duran. In 
1879 he made his appearance as an exhibitor with the American 
Water Color Society, and his talent was already so marked as to 
attract attention. A spirited touch and his appreciation of the 
picturesque manifest themselves in all of his productions ; his color 
is bright and true, and in his studies of landscape he displays a 
mood as happy as in his figure subjects. Mr. Wiles took the third 
Hallgarten prize at the National Academy of Design in 1886, and 
the Thomas B. Clarke prizein 1889. He is an Associate of the Na- 
tional Academy, amember of the Society of American Artists, and of 
the American Water Color Society, and has his studio in New York. 
He received an honorable mention at the Paris Exposition, 1889. 


No. 347—Shady Lawn. 


WOOD (TuHomas W.), P.N.A. 


Born in Montpelier, Vt., in 1823, T. W. Wood, in 1857, entered 
the studio of Chester Harding, in Boston, as a student. In 1858 
he went to Paris, and remained in Europe until 1860, travelling 


118 


THE CLARKE COLLECTION. 


No. 


in Italy and Switzerland in the intervals of his studies. He then 
returned to his native State, from which he set out on his wander- 
ings as a portrait painter, locating first at Louisville, Ky., and 
next at Nashville, Tenn., whence he came, in 1867, to New York. 
His paintings of negro and military life were his introduction to 
the New York public, and three which he exhibited at the Na- 
tional Academy upon his first appearance there—‘* The Contra- 
band,” ‘‘ The Recruit,” and ‘‘ The Veteran”—now form part of 
the collection of the Metropolitan Museum of Art. He was 
promptly elected an Associate of the Academy, and in 1871 be- 
came an Academician. Settled in New York, where he still has 
his studio, he produced a long series of characteristic genre pic- 
tures, native to the soil and to the spirit of its people, some of which 
have become widely known through published reproductions. His 
types are all American ; the episodes he selects for illustration are 
equally familiar, and to his rendition of his subjects he often 
brings a pleasantly humorous touch of human nature. He is a 
clear, clean draughtsman, a forcible colorist, and his invariable use 
of the model adds to the strength and character of his work. His 
rank as a portrait painter is equivalent to that which he enjoys as a 
painter of genre. Mr. Wood was one of the early members of the 
American Water Color Society, and its President from 1878 to 
1887. In 1879 he became Vice-President of the National Academy 
of Design, and in 1891 succeeded Mr. Huntington as President. 
He is a member of the New York Etching Club, and an honorary 
member of the British Society of Painters-Etchers. 


204—fis Own Doctor. 


WOOLF (MICHAEL A.). 


The son of a popular and famous musician and orchestral leader 
for the theatres, M. A. Woolf was born in London, of which city 
his father was a native, in 1837. He was brought to the United 
States in 1838, and received his education in New York, where, 
for many years, the elder Woolf was identified with Burton’s, 
Mitchell’s, the Olympic, and other metropolitan playhouses. 
Apart from his musical duties, the elder Woolf was a man of dis- 
tinct artistic and literary gifts, and issued the first caricature paper 
published in the city of New York. He is said to have himself 


BIOGRAPHICAL NOTES AND INDEX. 119g 


written all the text, made the designs, and engraved them on wood. 
His desire was to make his son an engraver and a designer, and 
young Woolf actually learned the one trade and practiced the other 
art foratime. The boy living much among theatrical influences, 
however, finally succumbed to them, and went upon the stage. 
During a number of years, while he was known as a comedian of 
ability to the public, he was known in private as an able amateur 
artist and as a student deeply versed in book-lore. He finally 
abandoned the stage and devoted himself to the cultivation of his 
graphic gifts. Fora time he drew designs for the newspapers and 
magazines, serious or humorous as might be, to serve the occasion, 
and he was widely known as a caricaturist before he appeared be- 

- fore the public as a painter. Several excursions abroad, and asso- 
ciation with painters of ability at home, constituted his school, and 
when he began exhibiting his pictures they displayed in a refined 
degree the same genial and human qualities that had made the 
painter popular as a draughtsman. Mr. Woolf made his first ex- 
hibit at the National Academy in 1882, He resides, and has his 
studio, at Bridgeport, Conn. 


No. 167—Litéle Housekeeper. 


WORES (THEODORE). 


The exhibition of a collection of pictures painted by him in Japan 
served as the introduction of Mr. Wores to the eastern public 
several years ago. The artist was, however, already well known 
in California, where he had long had a studio. He was of Ger- 
man parentage, born in San Francisco, and brought up in this 
country, and had studied art at the Munich Academy. When he 
returned to America and established himself in San Francisco he 
quickly perceived the picturesque possibilities of the famous China- 
town district of that city, and it was by his Chinese subjects that 
he attracted early attention and secured patronage. Later voyages 
across the Pacific extended his range. He has made a close and 
careful study of Oriental life and character, and his rendition of his 
material is marked by strong color and finished technique. Mr. 
Wores’s studio is in New York. 


No, 133—Stveet Scene, Japan. 
No. 327—Chinese Lantern Painter, 


120 THE CLARKE COLLECTION. 


WYANT (ALEXANDER H.), N.A., deceased. 


The personal equation enters so largely into art that, after all, 
pictures are very much a matter of temperament. The work of the 
late Alexander H. Wyant is the expression of a mind of great 
refinement looking at nature in her most poetical aspect. The 
interpretation of subtle delicacy of twilight ; the rendering of the 
opalescent tones of gray weather—all the gentle, loving moods 
of the landscape he expressed with alluring charm and fineness 
of perception. Mr. Wyant was born in Ohio in 1836, and painted 
commendably at the age of twenty. Subsequently he spent some 
years in Dusseldorf, though it is never remembered when he 
showed any of the influence of that school—the opposite of all 
his feeling and sentiment. Early in his career, he went to the 
Adirondack Mountains, where he identified himself with the 
scenery which he ever saw under the most tender conditions of 
sentiment and romance. Rarely, if ever, dramatic, his renditions 
of the stretches of mountain, or valley, were given in true poetic 
vein, delicately, adequately, with gentleness and deep feeling. 
Even when he found themes in the approaching storm, they were 
the more delicate passages of color effects which he rendered with 
exquisite charm. Mr. Wyant was a National Academician, a 
member of the Society of American Artists, a founder and life- 
long member of the American Water Color Society, and a con- | 
tributor to all of the exhibitions. By his death in 1892, America 
suffered a severe loss. He had received a recompense in Paris, 
at the Universal Exhibition of 1889, and was universally admitted 
to be one of the ablest and most Sap aa landscape painters in 
all American art. 


No. 40—Mountain and Lake, 
No. 46—lVorth Woods. 

No, 118—Zwelighi. 

No. 185—LZarly Morning. 

No. 197—TZhe Mountain Road. 
No. 225—Any Man’s Land. 
No. 367—Dawn—Keene Valley. 


BIOGRAPHICAL NOTES AND INDEX. 121 


WYLIE (ROBERT), deceased. 


Born in the Isle of Man, Robert Wylie was taken to America 
whenachild. He began his art studies as a pupil of the Pennsyl- 
vania Academy of Fine Arts, in Philadelphia, where his people 
had settled. Here he made rapid progress, and his work attract- 
ing the attention of the directors of the institution, he was sent by 
them to France to study. He entered the Ecole des Beaux-Arts 
in Paris and worked under Géréme, and was the first of the sub- 
sequently large American colony to find out the attractions of Brit- 
tany, establishing himself at Pont Aven, where he worked until 
his death, in 1877. He had for his comrades Frederick A. Bridg- 
man, W. L. Picknell, Clement Swift, and other fellow-countrymen, 
and he may be said to have almost founded a school, for his pictures 
sent to the Salon made a profound impression on the French 
painters and caused several of them to join him there. He was 
awarded a medal of the second class at the Paris Salon of 1872, and 
at Pont Aven, where he was well known, he was almost idolized by 
the peasantry. At the sale of his studio effects after his death, his 
humble neighbors vied with each other to obtain souvenirs. Mr. 
Wylie’s work, of which unfortunately but few examples exist, for 
he was by no means prolific, is among the great achievements of 
American art, or, indeed, the world’s art, of this century. He drew 
with profound knowledge, for his gifts in this direction were 
inherent, and to them he supplemented the most serious kind of 
study ; his color was virile and had the bigger qualities of the older 
masters, and, though somewhat dark now, it must be remembered 
that he worked at a time when the artistic world painted in a low 
key. There was seemingly no end to his invention, and he pos- 
sessed a fine sense of composition. Add to these, strong intellect- 
ual qualities, great artistic feeling, and a sympathy for humanity, 
and it will be seen that this gifted artist possessed most of the quali- 
ties of the great artist. His more important pictures are: ‘‘ The 
Death of a Vendean Chief,” at the Metropolitan Museum in New 
York ; ‘‘ Mendicants” and ‘‘ Card Players,” owned in Baltimore ; 
** Breton Group,” owned in Philadelphia ; and ‘‘ A Fortune Teller 
of Brittany,” in the present collection, painted in 1872. His un- 
timely death was a distinct loss to the world of art. 


No. 368—A Fortune Teller of Brittany. 


CATALOGUE 


mWikST NIGHTS. SALE 


TUESDAY, FEBRUARY 14, 1899, AT 8 O'CLOCK 


AT CHICKERING HALL 


I 

| y A + Din 
120, . CHARLES C. CURRAN ** 44% hit lZeag 
. Lady in Purple 


This charming little panel represents a lady in purple leaning against 
achair. She is standing near a window, through which the light falls 
on her back, illuminating effectively part of her dress and shoulders. 
The head is in shadow, and the detail is rendered with much sentiment 
and refinement. 

Signed, ; Height, 13 inches; length, 5 inches, 


% 2 ie. 
eye), WILLIAM M. CHASE ~”.S. A@Le Levy, 
A Visitor 


A half-length, seated figure of a young lady, dressed in black, who, 
having sent in her card, awaits the arrival of her hostess. 
Signed at the left. Height, 10 inches ; width, 6 inches, 


3 | 
fie. CHARLES H. MILLER ~/.-7; Sera 
Harvesting 


The realism of a cornfield is given in this picture, which shows the 
garnering of the autumnal harvest. Some men are in a field cutting the 
stalks or piling them up in stacks. To the left, green and yellow, a 
the tasseled heads of the plants shake in the breeze; to the right, the a 
great shocks stand up in regular rows. Groups of trees in the left : 
centre stand dark against an Indian summer sky, through which thin 
i sunlight filters, sending a warm glow over the landscape. In the fore- 
ground are some cabbages, their decorative greens making an agreeable 
: note. 


Signed at the left. Height, 14 inches; length, 23 inches, 


Aci 4 
LOO. - LAWRENCE C. EARLE«*@ 4. 4) 22 F4., 


a Great Expectations 4 A 


: Two boys, seated on hassocks with a bench for a work-table, are 
: amusing themselves with playing at water-color painting. The light 
from a window at the right relieves their figures with touches of illumi- 
nation, and the handling is broad and free. 


Signed at the right, Dated, 1890, Height, 10 inches; length, 14 inches. 


5 
ie RICHARD PAULI 62 414) ele, rl 
ms Rainy Day j 


The landscape, in the full splendor of its green midsummer foliage, 
drips with tepid showers. The gray sky harmonizes with the verdure, 
darkened and enriched by moisture, and heavy with the heat of the close 
and humid atmosphere. 


Signed. Height, 14 inches ; length, 20 inches. 


6 
% 
D> 4 HOMER MARTIN 217 6. Deeve 
Marine 
Under a gray sky a gray sea with little movement quietly rolls over 
a sandbar to the left. A schooner is tacking, and in the distance is 
a long stretch of misty hills, their shapes but vaguely outlined. A 


touch of blue, to the right, is in the sky, and the day is one of half-ob- 
scured, opalescent light. 


Signed at the left. Dated, 1885. Height, 15% inches ; length, 24 inches. 


Lite lou. Gale Bab Abi, (GAT 
d * 


7 4 
j (LO. ee’. It a Ay ; “a i 
4 JOSEPH DECKER "~ ’ Ph éelle sis. 
A Hard Lot | 
A still-life study in a fruiterer’s shop. Hickory nuts are piled in 
boxes, in a scale and in a measure, and the iron nutcracker is shown 4 
ready for use. Noteworthy for its close rendition of color, texture, and : 
substance. 
Signed at the right. Height, 12 inches ; length, 22 inches, 
8 
| A 
i420. — EDWIN A. ABBEY ¢-/7zpres.g 


Candlemas Eve 
(Black and White) 


Passing through a doorway upon Candlemas Eve, a maid looks back 
with superstitious glance, fearful lest she may see the traditional goblin. 
Other servants glance out with trepidation. The text of a verse from 
Herrick and a decorative border surround the drawing. 


Signed at the right. Dated, 1878. Height, 25% inches; length, 14% inches. 


B 


L Sex ; R. A. BLAKELOCK ©. 23% Mee lta, : 


Wayfarers at Eventide 


After a weary day’s journey, a party of Indians are making camp, in 
the gloaming, under the shelter of a grove. The final fires of day 
expire in the sky, and the bright colors of the savages’ costumes give 
variety to the sombre richness of the shadowy foreground. 


Signed at the right, Height, 11 inches; width, 15 inches. 


tif 


- y 10 
ée.- No 


ee | ate HO 
—” Delaware Water Gap a S 


In the small space of this modest panel the artist has, in his prelim- 
inary study for the large painting, presented an interesting vision of 
great extent of landscape. The river, distant hills, and foreground are 
indicated with breadth, and convey a fine sense of distance. The 
passing storm clouds, the burst of sunshine, and the brilliancy of the 
rainbow are all put in with a fine feeling of nature and felicitous idea of 
composition. This picture was painted in the early sixties. 


Signed at the left. Height, 814 inches; length, 1334 inches. 


II 
W. H. LIPPINCOTT 
Pe ss . ‘i : te? dv 
Be. A Loan Collection Vs eet Feere 


A group of umbrellas, of an antiquated style and dilapidated appear- 
ance, painted with much vigor and strength of color. 


Signed. Height, 22 inches; width, 14 inches. 


a 


ee 


ate 


9 


I2 
Me. SEYMOUR J. GUY “7: Note 22% eo, 
Out of its Element 


A portrait of the left hand of a sportsman, who, still holding his rod, 
lifts out of the landing net which he holds in his unseen right hand, 
the trout which has just succumbed to his skill. The background shows 
a stream, with a forest on the farther shore. Upon the distant bank 
another angler seems to be watching the movements of his successful 
brother of the rod. 


Signed at the left, Dated, 1870, Height, 14 inches ; length, 22 inches. 


13 
JOO. W. S. HORTON 70/4, Leberrecan 
Driving the Flock 


The forest is brightened by the tints of autumn. The sunbeams 
play through the foliage with brilliant effect. At the left a girl drives 
a flock of sheep into the foreground. 


Signed at the right, Dated, 1890, Height, 16 inches ; length, 24 inches, 


VW 14 ) 
5 be CHARLES H. DAVIS, 4,€, 2 | 
ff as i 


Sunset on the Moor cg 


The expiring sunlight warms the sky, but leaves the moorland in i} 
shadow. The windings of a creek at the right catch some reflection of i 
the fading light, but the earth is sombre in the creeping shadow of the 
night, and trees make spectral shapes on the horizon. 

| 


Signed. Height, 16 inches ; width, 24 inches. } 


oo) 15 0 
4 a7 . a. 4 
ae JOHN LAFARGE © (00 ee 


Tiger’s Head 


The head of a royal Bengal tiger, facing to the right, but looking out » 
of the picture, with his jaws parting to emit a savage snarl. The color 
and texture are admirable, and the beast’s ferocious aspect is rendered : 
with remarkable force. j 


} 

Signed at the top. Dated, 1862. Height, 14 inches ; length, 10 inches. : 

16 | 

: : 

OO O&,. H. SIDDONS MOWBRAY "44 J bez CO77 TCE 
Schehera-Zade 


The favorite of the harem is extended on a divan, lapped in cushioned 
luxury,. At the right a refection of oranges and pomegranates on a 
brazen salver tempts her appetite. Before her, on the floor carpeted 
with rugs, the romance-weaving heroine of ‘‘ The Arabian Nights” re- 
counts one of her fascinating legends. Her attitude is expressive of 
the climax of a tale, to which her listener attends with languid but 
absorbed interest. Splendid Oriental colors enrich the composition, 
and the figures are contrasted types of feminine beauty. 


Signed at the right, Height, 12 inches; length, 14 inches. 


17 | 
ARTHUR PARTON ** ©: eeevee 


“Ya, 


Apple Blossoms mo) 


‘e, 


ot, 
a) Pae>. ct 


The orchard is in full bloom and gay in sunlight, although a spring 
shower is passing along the horizon. The fresh green of grass and 
foliage harmonizes with the delicate color of the blossoms which 
enamel the boughs of the fruit trees. A brook crosses the foreground, 
reflecting in its waters the joyous brightness and sparkle of the nature 
of which it is a part. 


Signed at the right. Dated, 189. Height, 18 inches; length, 24 inches. 


SS ee 


bhi. 18 
re. Rs L. NEWMAN) oS). Beacez are. 
. “Woman and Love 


Seated on a bank in a dark woodland a young girl toys with Cupid 
at her knee. A glint of light is in the distant sky, and the red and 
white robe of the woman is brilliantly illuminated. The rich color 
quality peculiar to this painter’s work is in evidence in this composition. 

Signed at the right. . Height, 18 inches ; length,:24 inches. 


19 


eda. eee NIAMIN RO BITZ, 3 7. (2 55-p Ar 
Gathering the Last Sheaves | 


By the last light of day the harvesters are loading the final sheaves 
upon the harvest wagon, one tossing them up from the well-gleaned 
field to the other, who is perched high upon the load. The weary 
horses patiently await the welcome end of their day’s labor. The land- 
scape seen in the distance upon the left is beginning to disappear in a 
misty twilight, which already softens the details and subdues the color 
of the scene. Sai ea 

Signed at the left. Height, 16 inches; length, 24 inches. 


20 
J. G. BROWN 
os Whee an A Longshoreman 


Taking his noonday rest, a longshoreman, in blue overalls and 
jumper, sits smoking his pipe. Behind him are some bales of cotton, 
ahd half torn open and leaving some of their contents on the wharf, The . 
figure is in sunlight, the effect of which is well conveyed in the light 
and shade. The man isa regular type, familiar to every New Yorker 
who knows the scenes along the docks, and he is rendered with photo- 
graphic exactness and truthful detail, though the painting is broadly 
expressed with vigorous brush-work. From the short pipe in his mouth 
to the bale-hook in his trouser-band, it is a living picture of a workman. 

Signed. Height, 12 inches; length, 18 inches. 


9 


Ae: 


21 
ae, ©. up EMMA B. BEACH Jeeves’ 
Anemones 
A study of flowers, picturesque in arrangement and of excellent 


quality of color. The execution is competent and direct. The artist 
isa gifted pupil of A. H. Thayer. 


Signed. Height, 13 inches; length, 9 inches. 


Hc ‘ 


SANFORD R. GIFFORD / 2 


Venetian Fishing Boats 


This picture shows a soft summer sea, quiet and pellucid, with groups 
of the Italian fishing boats peculiar to Venetian waters. The many colored 
sails, red and yellow predominating, fairly palpitate under the brilliant 
southern sunlight, while on the distant horizon the buildings and towers 
of the city are seen in picturesque outline. 


Signed atthe right. Dated, 1870, Height, 13 inches; length, 24 inches. 


23 
‘ THOMAS MORAN 4...“ Selimarem 
Easthampton | 
' The meadowy foreground at the left is traversed by a little brook, on 


the banks of which dwarf willows grow. Larger trees close in the 
middle distance. The sky is banked up with brightly lighted clouds. 


Signed at the left. Dated, 1883. Height, to inches; length, rz inches. 


CaF, ~ WINSLOW HOMER“ *@e-(e7e7Ze_ - | 


J 


we LOUIS MOELLER. <’ SS cred LYe eas 


LOD, 


24 


In the Garden 
(Water Color) 


Leaning against the wall of a country house, a gardener stands talking 
to a maid who looks out of a window. There is a contrast of the red 
brick wall and the redder shirt of the man. Some flowers are relieved 
with fine effect against the white plaster, and a cat to the left steals 
quietly through the grass. 


Signed at the right. Dated, 1874, Height, 11 inches; length, 15 inches. 


25 


Hesitation 


Two elderly men are seated at a chess table. An important crisis has 
come in the game, and both are regarding the pieces intently. The 
expressions are of wonderful thoughtfulness and are profoundly studied. 
The man in front in an armchair is delightfully drawn and painted ; a 
blue cover is on the table, and, behind, a mantel is decorated with vases 
and other bric-a-brac. A rug is on the floor, and there is a bookcase to the 
right, with a screen to the left. Every detail has been painted, yet all 
has been broadly expressed and admirably rendered. The picture isa 
remarkable achievement, worthy of the reputation of an unusually gifted 
painter. 


Signed at the right. Height, 16 inches; length, 22 inches. 


26 


W. S. MOUNT &7°% 72% CLO og 


An Axe to Grind 


The familiar old story is told with a quaintly humorous touch. The 
confiding schoolboy has completed his task, and mops his weary brow, 


while the ungrateful stranger requites his labor with a threat. The 
boy, having had his labor for his pains, and allowed himself to become 
belated for school, sees, as an ultimate reward of his confiding good 
nature, chastisement from the pedagogue and rebuke from his parents. 
The scene occurs under a barn shed, with the village schoolhouse in 
the background. 


Signed at the right. Height, 6 inches; length, 9 inches. iW 
b 
27 4 
sing h 
Paha 
SFO. ~ DANIEL HUNTINGTON *% ©. Heate) 
sh 
St. Jerome a 
at 
4 
The venerable sage sits poring over the pages of a huge tome, whose ‘ 
leaves he turns with one hand. His face is of an intellectual type, with i 
along, gray beard. The color is rich and strong, and the execution f 
finished. 
Signed. Height, 7 inches; length, 5 inches. 
28 
ee R. SWAIN GIFFORD €*% (@erxzever 
J, GL % { 
Autumn 


A typical American coast forest of scrubby trees is made splendid 
by the colors of autumn. The foreground is a clearing overgrown with 
brush. Toward the right is a pile of firewood, stacked up for removal, 
and a man with an axe on his shoulder advances into the wood to con- 
tinue the work of destruction. From the George I. Seney sale. 


Signed at theleft. Dated, 1888. Height, ro inches; length, 14 inches. 


Sy eee oe ey, 


29 


ad € ie ,, 
“ye FW. FREER & © -7Gn4 


Mother and Child 


The tenderest of all themes—maternity—is here expressed with 
refined sentiment and delicate feeling. Seated in a chair, the mother 


gazes lovingly at the infant in her lap, and the child nursing, looks up 


YOO EMIL CARLSEN 


J 


ase F. S. CHURCH e% 2! oe ore ce ey 


at her with innocent glance. The woman is clad in some clinging 
draperies, and the child is robed in white. Behind isa red curtain of 
subdued tonality and a closed window. It is an intimate glance into 
the sanctity of home, and the picture is full of tender sentiment. 


Signed at the right. Height, 16 inches ; length, 12 inches. 


a pA 
307% 4.40 27 Cte oft 


tat 


Still Life 


A study, rich in color and bold in handling, of a dead capon, a cop- 
per basin, and some kitchen accessories. Purchased at the Museum of 
Fine Arts, Boston. 


Signed at the right, Dated, 1883, Height, 27 inches; length, 4o inches. 


31 
’ 


aren 


A Surf Phantom 


A great breaker, rolling inshore over the shallows, assumes the spec- 
tral shape of a white courser, whose long mane is formed by blowing 
foam. A sea nymph rides this phantom steed. Her figure provides a 
keynote of color to which the delicate grays of the picture are cleverly 
adjusted. The movement of the surf is full of the rush of oncoming 
waves, and the attitude of the figure is in spirited consonance with the 
motion of the surf. 


Signed at the right. Dated, 1885. Height, 20 inches; length, 24 inches. 


J 32 ; 
arises J. FRANCIS MURPHY «+ © Co. VMoror-e q 
Wet Autumn Day \ 


A rainy autumn sky lifts over the horizon, which is marked against a . 
rift of the light of late afternoon. The tints of the season enrich the if 
vegetation, and glow softly in the foliage of the trees which rear their 9 
shapely forms in the middle distance, making a picturesque mass against 
the turbulent sky. : 


Signed at the left. Height, 14 inches; length, 20 inches. 


33 
n 


’ 


WINSLOW HOMER 44 2arece eo 


478. “end 
Canoeing in the Adirondacks 2 
a) 
a (Water Color) : 
i \ ey Two hunters are seated in a canoe, paddling quietly along in the 
yw \™ deep shadow made by the wooded shore. The man in the stern, in a 
& red shirt which makes a fine color note, is looking backward and a trail 
Ww of whitened water is left behind. Some pines are outlined against the 
sky, which is of brilliant whitish gray. The tones are rich and recall 
with vivid realism the dense woodland fastnesses of the wilderness. 
Signed at the left. Dated, 1892. Height, 15 inches; length, 21 inches. 
34 
7 oT “ee 
a as GEORGE H. BOUGHTON ©-44. Wenz | 


| 


On the Surrey Road 


The road crosses a grassy common, passing a village, a portion of 
which is,seen in the middle distance. On the road are a lady and gen- 
tleman, mounted, with a groom riding behind them. 


Signed at the left. Height, 9% inches; length, 13 inches. 


a 


wt 


<td 


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irae Teal has 


3 7 ¥, 
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35 


160, % F. A. BRIDGMAN A. 242 227 


Normandy Cottage 


Characteristically French is this little glimpse of an old-fashioned, 
low, thatched house, such as one sees about the Normandy country. 
The beams showing with stucco between, the gaily colored shutters, and 
the rich green foliage, are all true to life. In front of the cottage is 
a horse, and though minute, it is painted with precision of form. 


Signed at the right. Dated, 1880, Height, 94 inches ; length, 13% inches. 


36 


Imitations 


An assortment of familiar objects—bank notes, fractional currency, 
coins, postage stamps, etc., painted with microscopic detail and decep- 


- tive imitativeness. The execution is remarkably skillful. 


Signed as a printed label, at the bottom. 
Height, zo inches ; length, 14 inches, 


37 Da gid 5 tea 


“LY SO. THOMAS HOVENDEN . | 


Pe Fier 


Ee» 
a Z 

i mae he 

- De % f 
Z! oF hyt 


Te 


“Tse so happy” | 


An old negro, twanging at his banjo in a warm kitchen corner, does 
justice to the sentiment of the plantation song which gives the picture 
its title. The figure, which is shown at full length, is spirited in move- 
ment and expression, and the detail is truthfully rendered. 


Signed at the right. Dated, 1882. Height, 26 inches; length, 18 inches. 


we 


Ore. 


FOUN HABERLE <°% 8 . Fo ay. 


£5 
ye ing 
¢ 
; 


i 
“ 


| ih ae 
fOFe. |; , GEORGE INNESS Suan 


7 Bee ; 

N\ “° \ Autumn near Marshfield 

Late afternoon of a midsummer’s day is shown in this picture, looking 
over a variegated and undulating landscape. To the right centre a mas- 
sive tree looms up in deep, rich greens, against a warm, colorful sky. A 
blasted tree trunk is just beyond, and a marshy bit of ground reflects 
the light of the sky. Fertile farm lands stretch away, dotted with 
houses and giving a panoramic view of the valley. There is infinite 
variety of tone, and the form and modelling are virile and suggestive. 
From the Johnson sale. 

Signed at the left. Height, 16 inches; length, 24 inches. 


ee oe. ALBERT P. RYDER Coat&@e ae 


Temple of the Mind 


The portal of the temple, which rises at the left, is seen in the pale 
and tender illumination of the moon, whose rays find silvery reflection a 
on the lake which is shown beyond the terrace wall. At the right, a . 
fountain gushes in its basin, its spray catching a sparkle from the moon- 
beams. The figures on the terrace lend the scene its allegorical sig- 
nificance, as suggested by the fantasy of Edgar Allan Poe, upon which 
the picture is based. The color, subdued but rich; the diffused lumi- 
nosity of the light, and the graceful balance of the composition, give it an 
artistic significance independent of its ideal meaning and purpose. 


Signed, Height, 18 inches; length, 17 inches. 


‘i 40 
BE. dy ook a A. H. WYANT Jf Virececic 3 
Mountain and Lake 


A veracious impression of nature, treated with engaging simplicity. 
To the left is a clump of trees; in the centre the water; while the dis- 
tance is composed of diversified country stretching far away. The 
motive was a favorite one with the artist, and is rendered with loving 
fidelity. The greens of nature are felt with tenderness ; the distance 
keeps its place in delicate harmony, and all is thoroughly enveloped in 
a soft, trembling atmosphere. _ 

Signed at the right. Height, 20 inches; length, 30 inches, 


4I Oh. ot a, Be ra 
LOUIS MOELLER 
Gratitude 


_ An old couple, before the evening meal, sit in attitudes of devotion, 
and ask a blessing. The old man is a study as he inclines forward 
with clasped hands. The plates, glass, and other objects on the table 
are realistically painted. There is a motto over the mantle, a side- 
board to the left, and a few pictures. On the right is a screen. On 
‘the back of the woman’s chair hangsashawl. Everything is represented 
with minute detail, and finished at no expense of general effect. 


h 


sa 


De ee 


ais — aid al 


Signed at the right, Height, 11 inches ; length, 14 inches. 


Pro 


swf 


42 
Zeer, — ROR KOST ILE sO. 7 7/0re ‘ho fes - 
: Moonrise, Foxhills, S. I. 


To a familiar landscape of commonplace characteristics the poetic 
mystery of darkness brings a definite charm. The moon, ascending in 
a humid and misty atmosphere, in which her rays are partially absorbed, 
barely reveals the masses of the scene, which are harmonized with a 
subtle delicacy of color and treatment. 

Signed. Height, 22 inches; length, 33 inches. 


2 43 
re GEORGE W. MAYNARD .. 


Jt Ce Cewe Pi 
Circe 


Sleeping on a couch, her head comfortably pillowed on a lion’s back, 
is the famous or infamous creature, who, in her transparent robes of 
diaphanous material, shows her beautiful form to drive mankind to all 
sorts of excesses. About her are tigers and lions, admirably drawn, 
and splendid specimens of the animal kingdom. The figure of Circe 
is exquisitely drawn, and the composition, with its note of blue in the 
couch, is especially noteworthy. 
Signed at the left. Height, 16 inches; length, 20 inches. 


ae * GEORGE INNESS 
A 
4 Sunset in the Valley 


NG sy a 


L. a ee 
Ke ih Sf ‘a + VCC ez 


“ The difficult problem of keeping red tones brilliant has been overcome 
in this canvas, and the result isa sky of much power. The theme is 
simple, showing a broad stretch of country, through which runs a stream. 
The cloud forms are impressive ; their shapes are carefully observed 
and majestically rendered. 

Signed at the left. Dated, 1890. Length, 22 inches; height, 36 inches, 


45 


ZA rr fad ye pt P 5 

. sot Mad leas i f 

FRANCIS C. JONES “Vr Sor 
Exchanging Confidences | 

Childhood and old age have come together in mutual confidence. 


Over their luncheon, in the kitchen, grandsire and grandchild are ex- 
changing experiences. The old man, seated at the left, with his bent 
figure turned from the light, listens with rapt attention as the baby, 
perched upon a mound of cushions in its armchair to elevate it to the 
level of the table, recounts its story, and there is a smile of pride and 
satisfaction on his withered face. Awarded the Thomas B. Clarke prize 
at the National Academy of Design in 1885. 
Signed at the right, Height, 18 inches; length, 20 inches. 


46 
A. H. WYANT ~ &S. Sr 6 Piggy 
North Woods 


The vapors of early morning curl along the crests of the purple 
shadowed hills that form the horizon. In the middle distance, at the 
left, a ruined cabin shows its shattered walls on the further shore of a 
stream. In the foreground, from the right, cattle approach the water 
down a hilly track, on which grows a stunted tree. 

Signed at the right. Height, 12 inches ; length, 16 inches. 


- 


47: 7 Mere Ae ys iris 


CES, LOUIS naa 07s pA, fh 
Stubborn “2 (wt 
In a dusky apartment three old gentlemen have been engaged in 
argument. Two, who are seated at a table, have apparently outwitted 
the third, but he is stubborn and refuses to be convinced. He has 
risen to his feet, and protests, with emphatic gestures, against the con- 
clusions which the others would force upon him. The color scheme is 
simple, but rich and strong. The drawing of the figures is of re- 
markable accuracy and decision. 
Signed at the right, Height, 18 inches ; length, 15 inches, 


48 f2 


dn ae Flee resp ties 


7 oe, WINSLOW HOMER 


Watching the Tempest 
(Water Color) 


The life-boat men, in their uniform of tarpaulins and cork jackets, 
stand ready to launch their boat at the first summons from the storm- 
lashed waters, which burst upon the shore with clouds of blinding spray. 
The people of the vicinity line the bluff above the beach and crowd 
down upon the strand itself. It is a period of wild excitement and ex- 
pectation, when humanity feels with deep emotion the deadly tumult 

. and peril of the elements. 
Signed at the left. Dated, 188:. Height, 14 inches ; length, 20 inches. 


COM 


49 
WILLIAM M. CHASE ./.S“#.4 


Cleo» 
A Coquette 


A portrait study of a comely Dutch girl, of the better class, whose 
national headdress and costume lend picturesqueness to her natural 
piquancy of beauty and expressiveness of feature. One of the artist’s 
early successes at the National Academy of Design. 

Signed. Height, 2zoinches ; length, rs inches. 


SSO, 


50 


‘ x 


«White Mountain Valley 


The unusual daring of this canvas is justified by the result secured, 
for the artist has selected one of those momentary phases of- nature dif- 
ficult to remember. A storm filled sky, with only a touch or so of light, 


and a distant glint of deep blue, darkens the landscape save where the 


sun struggles through. Angry clouds follow one another, impelled by 
strong winds. A mountain rises up majestically to the right, its top 
hidden in the sky ; patches of vapor float across the summit, and the 
valley has a variety of tints—dark, powerful, and forbidding. A figure 
in white is in the foreground. Essentially dramatic, the picture fasci- 
nates by its weirdness, its rugged force and truth. From the J. Abner 
Harper sale, » _ Pn a 


(aha taney 


Signed at the right. ¢ ‘~ fi fe Height, 20 inches; length, 30 inches. 


ye 


51 
CHARLES SPRAGUE PEARCE 


Rivalry t Reve Ke pelle, . 


Two French peasant girls are seated on the grass in a stubble field, lean- 
ing against a stack of grain. One, dressed in black, has her hand to her 
face in reverie ; the other, with a gray shawl over her shoulders, holds in 
one hand a bunch of poppies, with the other resting on the knee of her 
comrade. She has a smiling face, and looks coyly at her friend or rival. 


Wooden sabots are on their feet, and white headdresses surmount their 


quaint costumes. It is a sunny summer day. A road to the left runs 
seaward. Stacks of grain are about ; a ripening field is to the left with 
some trees. Notes of the red poppies make spots of color, and a tender 
sky isover all. It is a country idyl, ably painted in alluring detail, and 
both figures and landscape are well rendered. 


Signed at the left. Height, 32 inches; length, 40 inches. 


4,-¢°GEORGE INNESS ~“* etree og 


cozy | 


ae 


onli | 


! 


V 


y t 5 2 


27S D. W. TRYON @, he Dd ss 


The Lighted Village 


Nestled in a valley, with a hillside rising high above its roofs and 
making a horizon along a sky in which a crescent moon is rising, the 
sheltered village gives token of its existence by the scattered glimmer of 
its household lights. Looking down from the hillside which makes the 


foreground, into this obscurity, rendered more obscure by the pale . 


flashes that bespangle it, the mystery of darkness is accentuated in the 
mind of the spectator. The uncertainty which arises out of such condi- 
tions and surroundings has found a singularly happy interpretation at 
the hands of the artist, who has here carried the charm of suggestiveness 
to a preéminent degree of force. 


Signed at the right. Height, 16 inches ; length, 24 inches. 


53 gl 


Sita, 2 Wiig veces 
j , hLawe ee 
Tok 
‘ 4 Lge 


The Confab “). 


Two children are seated on a beam in a haymow, dangling their legs 
and talking to each other. The sun coming in from the top, lights 
them brilliantly, and makes the background recede into darkness. The 
straw hat of one has fallen down below, and the little tots are probably 


» discussing the difficulty. One of the faces is turned half away, and is 


deliciously indicated with infantile grace and beauty. The other little 
face looks up interestedly. How thoroughly the painter has entered 
into the spirit of child life, and how he has put himself in sympathy 
with the children he has limned here, an analysis of this composition 
will show. It isa veritable masterpiece of character work. From the 
A. T. Stewart sale. 


Signed at the right. Dated, 1377. Height, 22 inches ; length, 14 inches. 


Ts ry Oy ae 
SES, | hy woe” i, C° 4 E&eece re 


Ae od se 


Se. 


h. 
obhee 
ee 


ren { ae St 
4) R 


RE = 
a 


fi; 
f 


GEORGE INNESS 
Path through the Florida Pines 


Caught here and there by a warm sunlight glow, some pine tree 
trunks rise up in formal regularity, the foliage luminous in the sun. 
There is an opening in the grove, through which runs a path to a dis- 
tant village. A tender blue-and-white sky is given fine atmospheric 
qualities, which, indeed, are perceptible all through the work. The 
foreground is in shadow, save for a glint of light on the grass. A 
wooden bridge spans a little brook, and some figures are just emerging 
from the shadow to the light. A red roof is seen to the left, through 
the trees, and a couple of birds are flying through the air. The 
artist, approaching his subject sympathetically, has rendered the scene 
in his usual earnest manner, and has invested the landscape with great 
character. There are unusual qualities of light and air, and the sunlight 
fairly sparkles. 

Signed at the left. Dated, 1894. Height, 42 inches; length, 32 inches, 


Atay, 


55 
J. CARROLL BECKWITH <”, 3#- Had bing) 
Vivian 


A realization of a splendid type of beautiful young womanhood, with 
the head in full face, and painted with a free and colorful brush. 
Signed. Height, 21 inches; length, 17 inches. 


56 
THOMAS P. ANSCHUTZ *#S@eé He, - 
The Ironworkers’ Noontime 


At the stroke of noon the toilers at forges and furnaces emerge into 
the cinderous outer precincts of the foundry, for a brief respite from 
labor, and refreshment against labor yet tocome. Utter weariness and 
the robust strength of abundant manhood are seen in contrast. One 
young giant stretches his powerful limbs, as if shaking off his chains. 
Others exhaust their superfluous vitality in a mock battle. Some seek 


iM 
B), 
j 


refreshment in drenching their hot and grimy bodies with water, while 
others sink listlessly into supine repose. ‘The shadow of a cloudy day 


__ rests upon the scene and softens the severity of its naturally harsh out- 


lines and vast and ponderous massiveness, while investing the figures 


which animate it with a certain seriousness and dignity of color in 
keeping with the spirit of the subject. 
Signed, Height, 17 inches; length, 24 inches. 


Bri (i at oO Z 
; a OLA? 
rte H. BOLTON JONES aay 


Near Orange, New Jersey ¥'D 


The course of a meadow brook traverses the landscape towards the 
foreground at the right. The immediate foreground is a marshy 
meadow, where rich verdure is diversified in color by tussocks of dead 
grass. In the middle plane a line of alders and willows shows the foli- 
age of spring against a sunny sky. The freshness and clearness of 
the season lend to the scene a brisk and breezy brightness, in which the 
joyous revivification of nature from the torpor of winter is admirably 
expressed. 


Signed at the left. Height, 24 inches ; length, 34 inches. 


58 
¥ EDWIN A. ABBEY 
gw Autumn A, Deters /e'e> 


(Water Color) 


Against a background of autumn leaves, in a corner of the woodland, 
stands a young woman with folded hands. She is clad in a simple 
dress of grayish yellow, decorated with flowers. About the shoulders 
is thrown a blue shawl or scarf, and she wears a large black hat with 
feathers. The expression is wistful, sweet, and full of feeling. The 
youthful face, half-shadowed by the hat, makes a note against the deep 
reds of the background, and the lighting of the figure is most skill- 
fully arranged. On the ground in front some red and yellow leaves 
have fallen. The conception is delightful, and the manipulation of the 
medium is masterly. 

Signed at the right. Dated, x188r. Height, 22 inches; length, 18 inches, 


ba 


; Ee Ros 


iw 
= 
ee 


‘ 59 CG wT re 773 Pee. 
Lx “WINSLOW HOMER 


Coast in Winter 


A terribly angry sea dashes up against some rocks half-covered with 
snow, the swirling eddies in the foreground conveying an idea of its 
force. Thesurf is thrown high, and the fierceness and dreariness of 
the rocks present a scene of utter desolation, which the painter has 
powerfully expressed. There is a yellow-gray sky which enforces the 


illusion. ae 

Signed at the left. Dated, 1892, Height, 30 inches ; length, 48 inches, 5 

i 

60 d 

i ea GEORGE B. BUTLER 4 
Z 3 \ 

Bothered ~ 8 te ( Meee Lez 220) re 

fe 

A pestilential buzz-fly has invaded the precincts of the yard sacred as i 


the residence of the watchdog of the stable. Aroused from repose on 
his couch of blanket and straw, the victim of the annoying intrusion sits _ 4 
up and watches his diminutive tormentor with an expression of mingled . ¥ 
astonishment and wrath. The dog’s head is raised and his eye follows 4 
the movements of the fly, eager to snap it up yet ever baffled by the ec- 

centric movement of its swift winged flight. The drawing of the ani- 

mal is firm and correct, and the painting, throughout, is characterized 

by resonant strength of color and a broad and powerful touch, 


Signed at the right. he em Height, 41 inches ; length, 31 inches, 
61 
“ S a dae 
S f@o.,- i G:73 al 
a ° ey 2%, 
*\ fe’ GEORGE INNESS pe 
Nh rs 2 | Nine O'clock 
inh? On a pathway leading to a village a single figure walks away from 


the spectator. Some houses are to the right, while to the left are a 
group of trees and the tower of achurch. A full moon in a luminous 


Wet S Pat) 
iP 5 2 | i 


gray-blue sky sheds brilliancy and light over the landscape and road. 
Though there is the feeling of the night there is no blackness, for the 
4 P ‘atmospheric qualities of moonlight seem to permeate the entire canvas. 
; The softness and realistic indecision of the foliage against the sky are 
maintained in a manner characteristic of the master. 

Signed at the right, Dated, 1891, Height, 30 inches ; length, 45 inches. 


y | 62 
£. af 
eee oP GR GRANT Ce yg. a 
ae is: OF? C05 ‘APO on 
Waiting e/ | 
Seated by a long low window is a young girl dressed in white. A 
book lies unread before her; behind her is a guitar, and in front isa 


spinning wheel. She looks dreamily out of the window across the sands 
to the sea beyond, and the story may be guessed. 


BT ii a a oa siete NS “a 
sai ' 7 J os 


eee o> 


Signed at the left, Dated, 1885, Height, 20 inches; length, 30 inches, 


63 * 
KENYON COX Ij- 
A Still Day 


Green and breathless midsummer reigns in the landscape. The 
broad and unruffled expanse of the river in the foreground repeats the 
placidity of the hot and cloudless sky. An islet, heavily dressed in 
verdure, breaks the surface of the river towards the right. At the left 
the distant shores lose themselves in a line of hazy hills along the 


war ©, ' 7, net Teg 


horizon. 
Signed at the right. Dated, 1890. Height, 15 inches ; length, 27 inches. 
64 
? 
F, DIELMAN er A ee 
Sb w@ : poe "ei > ¥ \ C4 ra 4 c OP LB dh my 
Tessa 


Awakened by the first light of morning, a little girl sits up in bed, 
her face rosy from sleep. She crosses her hands at her breast as she 
utters her morning prayer. 

Signed at the top. Dated, 1884. Height, 1o inches ; length, 8 inches. 

fe) 


65 i 
Va e, ELLIOTT DAINGERFIELD < ./(.Dee/@om 
Women Working in the Field 4 


The sun is setting in a splendor of crimson and gold behind the 
wheatfield, nodding with its ripe richness. At the left the distance 
loses itself in the gloom of evening. Two gleaners are coming out of 
the wheat. One, the elder, walks wearily, looking neither to the right 
nor to the left, happy in the completion of her toilsome day, and con- 
tent with its scanty reward. The other, younger, fairer, and more 
hopeful, looks back over the wall-like crest of the bearded grain. The 
color, deep, rich, and strong, is combined in a profoundly tender har- 
mony, and a sincere and poetic sentiment characterizes the work. 


Signed at the left, Dated, 1890, Height, 24 inches; length, 34 inches. 
iw 66 
rasa «.~ GEORGE DE FOREST BRUSH 3 
. + ' oe Bee ae ee oc a 
i & Mourning Her Brave POC 2d eVELPU AS & 


Upon a jutting ledge of a precipitous mountain side the warrior has 
been laid to rest, with the snow for a winding sheet. Over the body, 
shrouded in its blanket, the birds of prey already wheel and clamor for 
the feast, scarcely kept aloof by the presence of the dead man’s squaw, 
who, erect and rigid in the snow upon the slope of the mountain, raises 
her voice in lamentation for him who is gone. Out of a sky of steel, 
the tempest comes in bitter blasts that reécho the wailings of the 
mourner among the waste places of the craggy wilderness, and add to 
the horrors of the death which is present the threat of that to come, 
which rides forth upon the storm. 

Signed, Height, 36 inches; length, 26 inches. 


67 
WALTER L. PALMER .4~ &.42ee Olek 
January . 


i feo Ef. 
A keen winter sunrise over snow-covered fields, where drifted masses 
are brilliantly outlined by the cold beams. In the foreground a stone 
wall crosses the picture, partially buried by the snow, and at the right 
a massive tree extends its bare branches against the sky. This pic- 
ture took the second Hallgarten prize in 1887. 
Signed at the left centre. Dated, 1887. Height, 25 inches; length, 36 inches. 


a es 68 Mitr Cees leisy 
WILLIAM A, COFFIN 
After Breakfast 


A scene in the billiard room of a country hotel at Grez, near Fon- 
tainebleau. Through the large window the roofs of buildings enclosing 
a courtyard are visible. At the right, an idling painter knocks the 
ivory balls about the table, while a young lady, seated near the window, 
looks as idly on. This picture is remarkable for its truth of values and 
the excellent rendering of the effects of light. 

Signed at the left. Height, 13 inches; length, 9 inches. 


SO en a a 


69 nn at 
P L2es., CHARLES C. CURRAN 4-47. 7eece 


d Girl Reading 


Gowned in a soft, clinging pink robe, a young woman is seated on 
a couch by a window, reading a book. Subdued sunlight is filtered 
through the curtains and shade behind her, illuminating her right side 
é with a warm glow. The cushions against which she leans are of green, 
( and harmonize with her costume, and the figure, attractive in pose and 
| drawing, is enveloped in luminous atmosphere in which the shadows 
are colorful and transparent. The work is carefully executed, but at 
the same time is kept broad and suggestive, while the color scheme is 
harmonious. 

Signed at the right. Dated, 1892, Height, 18 inches; length, 26 inches, 


eet 


v 70 
Pea ALEXANDER HARRISON'S 2 pe (2) ree wll 
Marine Ae 


Sea and sky are lighted in delicate tints by the reflection of the sun- 
set. Through the faint mist of early evening the moon is rising. A 
subtle play of color flushes the waves as they roll gently in to spread 
upon the beach in the foreground in foam-fringed washes. The calm 
of a peaceful day’s end in the sky repeats itself in the languid play of 
the waves. 

Signed at the left. Height, 14 inches ; length, 20 inches. 


ogy: 7l a7 OF meee 
J. BEAUFAIN IRVING 
Washington at the Bedside of Colonel Rahl 


Lying propped up in a couch the sick officer, Colonel Rahl, receives 
the head of the Revolutionary army. General Washington, in full 
uniform, sits on the edge of the cot and takes Rahl’s hand in his own, 
looking in his face with commiseration. An aid-de-camp stands behind 
Washington’s chair, and an officer helps to hold up the invalid’s shoulders 
as he talks to his chief. A woman at the left is bringing in some 
medicine, and on a table near her is a decanter of wine. Over the 
mantle hangs a map ; to the right is a flag and drum. A sentry stands 
at the door, and a great clock is at the left. 

Signed at the right. Height, 20 inches ; length, 26 inches, 


72 
M. DE FOREST BOLMER 


dae a Fag : 
' Falling Shadows ~~ °* EP e366 Lo cz>> 

Silent and peaceful under a tender sky lies a flat stretch of moorland, 
with gray-green grasses growing ina sandy soil. There is a break in 
the distance, and glancing over the chasm the last rays of the late 
afternoon sun strike softly on the hill, gilding it with a warm glow. 
The sky, too, has caught the radiance of the setting sun, and the clouds 
are gold tipped, or tinged with the brilliant reds of evening. The 
feeling of distance is well rendered, for the landscape stretches far away 
and is lost in the horizon, while the sky seems almost infinite in its space. 
It is the sort of composition in which this artist delights, and in which 
he is at his best. 

Signed at the right. Height, 24 inches; length, 36 inches. 


7 
ia 5 TURNER ceve® OL 25 
Gossip in the Lane " 


In one of the narrow streets of a New England fishing port, three 
girls are discussing the merits and demerits of a couple of fishermen, 


SS TE 


- whose figures appear in the distance, passing up the road. One of the 
gossips has halted on her way tothe store. The others have inter- 
rupted their domestic duties to join her. Each is a distinct native type, 
individual in character, and expressive in attitude and movement. 
Autumn leaves cover the roadway, which, with the figures themselves, 
is in shadow. 


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¥ Signed at the right. Dated, 1891. Height, 20 inches; length, 26 inches, 
* q t 
: 5 i y | H 
74 | 
: Wee, AH THAYER 977 4 veese. | 
, Roses | 


mers, 


A spray of freshly cut roses, painted from nature, in a delicious har- 
mony of pink petals and green leaves against a gray background. 
Signed at the right. | Height, z2 inches ; length, 20 inches, 


i aera, ae 


. 75 
Dees = J. ALDEN WEIR Cuetec. &'¢7- 
Still Life 


A study of fruit, fresh plucked and with the twigs and leaves still 
attached ; vigorous in treatment and solid in quality. 


Signed. _ Height, 17 inches; length, 21% inches, 
76 
J Be ey eae | 
4FSH, Autumn he PSCEL Xs 


The rich, colorful effect of an American autumnal woodland is given 
here with force and sentiment. Under a cloudy sky, with the sun 
breaking through here and there and catching the yellow grasses, the 
tree forms half denuded of leaves, stand out with fine effect. Deep reds 
make telling notes in contrast with the grays of the distance. The 
autumn season is interpreted with sentiment and truth. 

Signed at the left. Height, 20 inches; length, 33 inches. 


77 
caehinenaaale CHARLES F. ULRICH 


A 3-ce gt sgh aftr, 


An Amateur Etcher 


At a table before the window of a handsomely appointed studio a 
young woman is seated, drawing the outlines of her design on a copper 
plate. A screen of tissue paper tempers the light that falls upon the 
table. At the left another table is covered with acid bottles and studio 
paraphernalia, and a picture is seen on an easel, against which loose 
prints and proofs are piled. A statuette anda lamp give additional 
variety to this collection of objects, which has afforded the artist ample 
opportunity to display his rare skill in the representation of still life. 
The figure of the etcher is graceful in outline, substantial in quality, 
and full of expressiveness in its intentness upon the work. Although 
all the detail is elaborated to a degree, it is subordinated to this figure, 
which assumes to the eye its natural importance as the centre of the 
composition. 


Signed at the left, Dated, 1882, Height, 12 inches; length, rs inches, 


78 
ain 3 GEORGE INNESS ©” ©: ~@ 22 adage 


Bs 
Showery 


A rainy sky, through which straggles some sunshine, is admirably 
depicted. Patches of blue are seen here and there, and in the distance 
appears the passing shower. Some trees are to the left and throw a 
shadow. Sunlight is streaked across the foreground. Between the 
hills on the horizon and the foreground lies a wide stretch of country 
diversified by fields and hedges. The different effects of green, and the 
tints of the fields are subtly and comprehensively rendered. 


Signed at the left. Dated, 1894. Height, 20 inches ; length, 29 inches. 


Ce Atat ke ; 
uae 


79 | 
W. P. W. DANA 778 (43. Acre ioy.,., 2d 
Fishing Boat i 


25D 


a 


—_~ 


A moonlight night off the channel coast of France. In the fore- 


i 
ground a two-masted vessel rides a rough sea. Two other boats are seen 
% sailing at the left, and on the right, in the distance, clifis jut out into the 
1 water. Thecolor and handling are strong, and the effect striking in i 
A its centralized power. 
4 Signed, Height, 16 inches ; length, 22 inches, 
| 80 
ive P cis - ‘ 
b. - 92. PERCY MORAN ~eén- J se sf, , 


An Old Time Melody 


A comely maiden, in the costume of the early part of this century, 
is seated at a harpsichord, reading a score of music which she holds in 
her hands. Bright sunlight illumines the room through a curtained 
window behind her, against which her graceful figure is relieved. The 
artist has been signally successful in the delicate rendering of details 
and in the management of the effect of light. 

Signed atthe right, Dated, 1883, Height, 30 inches ; length, 22 inches. 


‘ SI 
aF SO — C. MORGAN McILHENNY ns 
é har hal fm Se i 
Old Friends ~ » Mereher Cel Cop alll 


Standing side by side in a field, an old man and an old horse look 
reflectively at a pool. Both are pretty well worn out. Some trees rise 
up in the left and the land rolls away to the right, showing a sky 
that suggests evening, fitting moment in which to depict the scene. 
The management of the water color medium in this large drawing 
is a feat by itself, apart from the artistic feeling and the clever com- 
position. This work was awarded the Evans prize at the Water Color 
Society in 1892, and a medal, in 1893, at the World’s Fair. 

Signed at the right. Height, 24 inches ; length, 33 inches. 


LPL S "a 


82 2 | 
“ x, He ase pole ; 
CHARLES X. HARRIS Waite 


Colonial Days 


In a colonial interior, seated near a fireplace, two men, one of 
whom is dressed in a blue coat and brass buttons, sit listening to the 
story of a third, a young officer in uniform, who is intently talking 
as he leans over a table. A butler holds a bottle between his legs, and 
bends over in his efforts to extract the cork. A mirror surmounts the 
chimney-piece, together with a clock and a pair of vases. Reflected in 
the glass is an old-fashioned sofa on the other side of the room. 
Upon a chair, at the left, are a hat and a soldier’s chapeau. To the 
right, over some chairs, hangs a portrait of a woman on the wall. It is 
all remarkably realistic, and every expression is a seriously seagipienvn f 
character study, carried out with interesting detail. 

Signed at the right. Height, 15 inches; length, 21 inches. 


83 
WILLIAM MORRIS HUNT ’ 
Sunlit Woods 7: «%.AltezaSerrc e bel 


A corner in a woodland is represented as catching the sunshine, 
which illumines the leaves and makes a brilliant play of yellow notes, 
while it glints over the path that runs across the foreground. Four tall 
tree trunks stand up in the front of the picture, and at the foot of one is 
a big rock. A serious, virile study from nature. 


Signed at the right. Dated. 1862, Height, 16 inches; length, 12 inches. 


84. ; 


wit od ve 
eZee me WINSLOW HOMER 4° fj; Wo pere 


The Lookout—All’s Well 


The head and shoulders of the lookout loom up on the left of the 
picture. He is a sturdy, bronzed mariner, clad in oilskins and a 
sou’wester. His gray beard is almost lost in the shadow, and his head 
is thrown back as he gives his cheery cry, ‘‘ All’s well.” Above his 
head is the bell, catching a touch of moonlight, while some ropes and 
rigging appear behind the figure. Over the side, the sea and sky merge 
into each other, and convey an impressive sense of solitude. 


eines mins 5 


Signed at the right. Dated, 1896. Height, 42 inches; length, 30 inches. 


oo John A Ingest 


7 i hie A a4 Pore pee Vote 
e8e,- - GEORGE INNESS 
Sunset in the Old Orchard—Montclair 


The last.out-of-door work, painted directly from nature, by Mr. Inness, 
near his studio at Montclair. It is a study of the subtle relations of late 
spring greens. The subject is an orchard, witha great tree trunk to the 
| right centre. To the left is an old building, one side of which is sil- 
a houettéd against a brilliant sunlit sky, which fades away into gray tones 
Gi _ as it leaves the horizon. An old fence runs through the centre of the com- 
position, and other trees are outlined against the sky. The delicate 
differences of tint in the greens are rendered with truth and artistic 
- feeling, while the luminous effect of the sky and the light permeating 
z the atmosphere are appreciated at a glance. 


Signed at the right. Dated, 1894. Height, 30 inches; length, 45 inches, 


S2e, . WINSLOW HOMER it 


The Carnival 


Some darkey women are getting a man dressed to take part in the 
festivities of the carnival. He is arrayed in a coat like Joseph’s, of many 
colors, a patchwork of home manufacture, ablaze in reds and yellows. 
A lot of pickaninnies stand awed by the importance of the occasion 
in open-eyed wonder. One old woman, pipe in mouth, sews the stuff 
together. On the left of the composition there is a gate, and behind, 
at the right, may be seen a house with tall chimneys. Sunlight falls 
on the group, producing strong lights and shadows. This work is 

_ notable for its fine color, as well as for its delineation of character. 


Signed at the right, Dated, 1877. Height, 22 inches; length, 32 inches. 


bi 


4 


8 
7 ee eo If, 2 in aeak 
oe FREDERICK E. CHURCH 


Mediterranean Sea 


From an elevated foreground crowned with trees on the right, the 
eye traverses a perspective on which the sun is setting in mellow splendor, 
in a quiet sky over a drowsy sea. The ruins of an ancient castle over- 


look the sea in the middle distance at the right. At the left, lofty head- 
lands protect the placid harbor, whose spacious expanse is broken by a 
little islet. The termination of a great civilization, serene in its decay, 
is typified by the artist with rare poetic skill. It is not only the Medi- 
terranean which he presents to us, but the spirit of its past, when it was 
the central sea of the known world ; that past which sleeps to-day in its 
historic ruins, a mere memory of poetry and legend, preserved to the 
busy world only by the art of the wizards of brush and pen. 
Signed, Height, 20 inches; length, 22 inches. 


88 


% f = 7 DOUGLAS VOLK < ers LAO oe Ty 
Accused of Witchcraft tt Cowe€. 


The cruel superstition of the black days of New England has invaded 
an humble home to accuse a devoted daughter of a hideous crime, and 
drag her, from her invalid parent’s side, to a doom of torture and igno- 
minious death. The unfortunate girl throws herself before her accusers 
in an attitude and expression at once of indignant horror and terror, 
while her father, in a frantic outburst of alarm, warns the intruders off. 
The grim invaders, marshalled by the vile crone who makes the accusa- 
tion, survey her with unpitying faces. All of the relentless and in- 
human spirit of,a time of bigotry and intolerance, is expressed in this 
harsh and unbending tyranny of armed and powerful superstition, 
against the weak and defenceless. 

Signed. Height, 40 inches; length, 50 inches, 


80 SU rele. 
HOMER MARTIN phe 


> fe ' 


Adirondack Scenery, nae 4 


A 


The view given is across a valley of the drtisandaee widernew) under 
a curious effect of light, half sun and half shadow. There is a clearing 
in the immediate foreground ; the middle part of the landscape is in 
shadow, and the sun illumines the distance before it fades away into 
a mist of gray and blue. A burst of light is in the sky, and the clouds 
hang low, half obscuring the hills. It will be noticed that although 
painted with apparent simplicity, a feeling of remarkable detail is con- 
veyed, and the acres of trees seem each to take on a defined shape and 
character. The immensity of territory is finely rendered. 

Signed at the right. Dated, 1892. Height, 29 inches ; length, 40 inches. 


‘ 


ait ih 


ee oy ALERED KAPPES hae 
Rent Day He, Psc<eches- 


The agent has made his monthly call at the humble habitation of 
Sambo and Dinah. He sits at the left, while at the right his tenants 
prepare to dole out their hoarded store. The old woman extracts the 
coins from her purse, and a doubtful piece of silver is now under ex- 
amination. The intense interest of the characteristic negro faces finds 
an effective foil in the calm indifference of the agent’s features. The 
figures are seated upon a bench, under a window, through which the 
f full sunlight is admitted. The effect of light is brilliant, and the tech- 
a nique bold and powerful. 


iy Signed at the left, Dated, 188s. Height, 32 inches ; length, 43 inches. 

| vi QI y 

i j ‘ai sof Pay 4 4 ge 

af rd int ar] rs f A niet hy / 

, 2Zos?. DWIGHT W. TRYON ye tee 

~ hte Gee ey, 
2, The End of Day rill Pee 


Through a field full of rocks a road runs toa farmhouse amid the 
trees. A gray evening sky is filled with dusky-red clouds, while the 
setting sun has illuminated those nearest the horizon with brilliant 

| orange and vermilion tints. The undulating character of the country 
is well rendered, and the simplicity of the landscape only serves to 
envelop the theme with a feeling of repose. 


Signed at the left. Height, 31 inches]; length, 46 inches. 
/ fe. wy 
v ed 
Peace WINSLOW HOMER | ge 
ts a ‘i . a : " wpe 
The West Wind.” ¢r2\le@y-r20¢ pew: 


On a sand dune overlooking the ocean a woman is standing. The 
wind, which sends waves and clouds skurrying along, catches her dress, 
and with one hand she clutches her hat. On sand and water there is 
felt the irresistible force of the gale, and the leaden sky seems to make 
more real the fury of the blast. The brilliancy of the white caps and 
the wild movement of the sea are splendidly portrayed. 

Signed at the left. Dated, 189r. Height, 32 inches; length, 46 inches. 


4 | 4 
fs Mefrep ote bees 

866 o.- 4 GEORGE INNESS alee reves: a 
Winter Evening <“~* (fs -/- q 


The artist gives a panoramic view of New Jersey country stretch- 
ing away many miles from the village. There is a building to the 
right, and a group of pine trees. The anatomy of the landscape is well 
expressed, and the fields stretch away to distant hills. A sky, brilliant 
in reds and yellows, takes on its full value, which is enhanced by the 
soberness of the snow in shadow. Cloud forms, dramatic in form 
and color, give unusual interest. This magnificent canvas, in all the 
exhibitions where it has been shown, has been acclaimed as a master- 
piece of landscape art. 


Signed at the right. Dated, 1887. Height, 32 inches; length, 50 inches. 


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ate. 


450. —~ Du Clair on the Seine 


SECOND NIGHT'S SALE 


WEDNESDAY, FEBRUARY 15, 1899, AT 8 O'CLOCK 


AT CHICKERING HALL 


| 04 
Pe TEA ENS fe * 
Sundown 


# 


Dark and powerful, dramatic even, the deep, rich purple evening sky 
causes the tree forms, gilded here and there by the last rays of the 
sun, to stand out prominently. The scene is a defile through a narrow 
gorge, where flows a little stream. A reflection or two of the reds are 
caught in the water, and a few rocks are softly lit by the fading sun. 
A gleam of light is in the upper sky, opalescent in tone, while over all 
falls the hush of the hour. Vigorously painted, the work is effective 
and impressive. 

Signed at the left. Dated, 1880. Height, 16 inches; length, 20 inches. 


95 


HOMER MARTIN 
fad * * Weere 


(Water Color) 


A tall poplar rises up at the right of the drawing, and is strongly out- 
lined against a pale, blue-gray sky. In the distance a hill is seen, at the 
foot of which lies a village of red and white houses, a church spire 
rising above the town. In the foreground is a bank; and a river flows 
past to the distant village. The color scheme is very tender in its gray 
greens, and the whole conveys a sense of having been painted out of 
doors. 


Signed at the left. Dated, 188s. Height, 10 inches; length, 14 inches.. 


¢ 


WC cre Kg FOC ws 


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OF EL oC 


6 f a Nee 
9 0. Kh On fe cans 
Ve st STANLEY MIDDLETON oa tos ~4 
Refreshment i 


A lady in out-door winter costume, is shown at half-length, reading 
her fortune in the grounds of the cup from which she has been drinking 


tea. 
Signed at the right, Height, 9 inches; length, 7 inches. 
97 
4 ) oG. TYLER eee 
FO. J Pa J BN gis pst 
Cloudburst ~ 


An infrequent dramatic aspect of the sea is here powerfully depicted. 
An angry sky, through which some light forces its way, has gathered 
up its force in clouds and sends its strength down to the disturbed 
ocean. A wave piles itself up angrily, the spray being blown off by the 
force of the gale. Only sea and sky are shown, but the composition is 
full of interest, and has a realism that betokens familiarity with the 
many moods of the ocean. 


Signed at the right, Dated, 1802, Height, 18 inches; length, 22 inches, 


8 7. 3S eps ee 
ria W. MERRITT POST 


Breezy Day 


An American woodland is given, in autumn aspect of half bare trees, 
with deep, rich tones of reds, and yellow grasses. A stream runs through 
the centre, and a sky full of movement and light conveys a fine sense of A 
the time of the year. The drawing of the trees is very competent, the 
reflections are well expressed, and snap and vim characterize the canvas. 


Signed at the left. Height, 1o inches; length, 14 inches. 


WMD, EM ee cowl Lag ui 
WILLIAM M. CHASE 


ge le oe on oe Se ee 
=e ake > pa lll | 


os The Model 
(Pastel) 
i A study in pastel of a nude model, seated on a plush covered cushion, 
4 with her back turned to the spectator and her head slightly inclined 
} towards the right, in which the capacity of the pastel medium for firm 
Pd and rich treatment of the figure is abundantly illustrated. 
( Signed. i Height, 22 inches; length, 16 inches. 
if 
S: 100, 
, y, e Pd oF 
: a hed Nag MAE ee 
ae C. D. GIBSON : 
f © 2 
i Ps . 
i The Parting 
(Black and White) 

Standing in an opera box a beautiful young woman and a young man 
are saying good-by. A more practical couple in the next box are going 
out with fewer notions of sentiment. 

Signed at the left, Height, 16 inches ; length, 25 inches. 

*, IOI 


eae oH, i PPL Ot 
EDWIN A. ABBEY 


SS -- Misleading the Enemy 
(Black and White) 


Coe? 


An illustration of the story of the two women who with drum and fife, 
behind some bushes, during the Revolutionary war, made the enemy 
believe a regiment was approaching. 

Signed at the left. Height, 15% inches ; length, 1114 inches. 


a 102 
EASTMAN JOHNSON > d4eld 


Southern Kitchen Interior 


a7 2. 
me 3 


The chimney corner of an old farmhouse is given with the realism of 
surrounding pots and kettles and old-time furniture. An old man sits 
with his evening pipe, ruminating. A chair is in the corner against a 
door, and the little nothings so expressively suggestive of home life are 
scattered about. The artist seizes upon these details so immaterial, yet 
so characteristic, and renders all faithfully. 


Signed at the right, Dated, 1867. Height, 1514 inches; length, 19% inches. , 


é 103 


as - H. BOLTON JONES 


<—-fPy bn, : * “S-t 
2 ” é » wt» £8 ~ 
Sandy Shore 1. Ad dn exr Fee 


The sand dunes, tufted with a sparse growth of wiry grass, extend 
along the shore, under a burning summer sky. The proximity of the 
sea is suggested only by the conformation and character of the arid and 
lonely landscape, which is marked out in broad, strong contrasts of 
light and shade by the powerful glare of the sun. 


Signed. Height, 16 inches; width, 23 inches, 


104 


The Mouth of the Sahara 
(Water Color) 


Great yellow rocks rise out of the sands, at the edge of. the desert. , 
A few palm trees grow near a pool of water, and several camels, with 
their picturesquely costumed Arab riders, make notes of brilliant color. 
Masses of clouds, portending rain, are banked up at the left, and the 
general aspect of the picture is truly Oriental. 


Signed at the right. Dated, 1875. Height, 9 inches; length, 13 inches. 


R. SWAIN GIFFORD *% ¢/:// elfen 


| | 105 
“12, CHARLES HOPKINSON < . &-7@22 73," 
A Stiff Northeaster 


The effect in this canvas is one of movement, showing the force of 
sea and wind. A schooner is being driven ahead by a stiff northeaster ; 
the sky is lowering, and the sea angry. It is all very realistic. 


Signed at the left. Dated, 1891, Height, 20 inches ; length, 1234 inches. 
106 
rg ay DM; BUNKER cy UZ Are, 


A Neglected Corner 


A cleverly painted and attractive study of a portion of the interior of 
the studio occupied by the artist during his student years in Paris. 


» Signed, Height, 14 inches; length, 18 inches. 
107 
ek GEORGE W. MAYNARD 7%) yy 5) ys, 
The Sea Witch 
(Water Color) 


In a beautifully colored sea, pale blue and green, which rolls in comb- 
ing waves, the form of a lovely woman is seen, half lost in the water 
which envelops it. She is one of the fabled inhabitants of the deep, 
and realizes the descriptions of the poets who have made her the theme 
of their songs. Her head is thrown back on a caressing wave, and the 
flesh tints are delicate and refined. The sky is in consonance with the 
general color scheme, the whole forming a harmony of tender color. 

Signed at the left. Height, ro inches; length, 14 inches. 


y 108 
JOHN LA FARGE _¢ 


EAD a8 sh 4 Peroapoee ‘ 
An Apple Orchard in Spring ( 


2 /O 


A study of an orchard, in the tenderest tints of bursting young verdure. 
Signed. Height, roinches ; length, 12 inches. 
II 


—_— oe) ono re 


% 


wAsS&. ¥ . 


109 f/f, 74 eaXeneece 
J. FRANCIS MURPHY 


A Sunny Morning 


In the foreground, a little stream runs along through a meadow, while 
some trees, touched by the first frosts, are silhouetted in sober yellow 
tones against the sky. There are houses in the distance, a glimpse of a 
village, and a bit of distant water. The sky is clear and sparkling and 
the sun catches the edge of the clouds. The picture is a beautiful 
harmony in subdued tints. 


Signed at the left, Height, 11% inches ; length, 9 inches, 
% 


IIo 


LOUIS MOELLER &4 44esZosc 
Amazement 


Seated at a table reading a paper, a man is starting back in amaze- 
ment at some unexpected piece of news. The wholestory is told in the 
face, which is most expressive. Here may be studied Mr. Moeller’s 
remarkable cleverness in painting detail, and his extraordinary capacity 
for finish without loss of general effect, for the ensemble is broad and 
comprehensive. 


Signed at the right. Height, 17 inches ; length, 13 inches. 


, IIt 


ye Cth, Cee 
.2 °° GEORGE INNESS SiN 


Night 


A full moon over groups of trees, a flat pasture field, and a house to 
the right, dimly lit, convey the time and hour. Candle-light filters 
through the door and window, showing the presence of the family, but 
otherwise there is a feeling of loneliness and solitude. To the left a 
single tree trunk is outlined against the distant sky and foliage. All 
is sober, quiet, and restful. ‘_ 


Signed at the right. Dated, 1890. Height, 22 inches; length, 27 inches. 


acts 
7 oi 
s 


— 


————— 


Snecma Nee eS EN Ee De LPR EOL, NTS RS A OL ETC NF a PS 


II2 . yf 
_— eg ee - ; . 
FE Mes CAR. | 
: #7 ©8 SF 25NK RUSSELL GREEN he Pa i 
bi | Sweetheart 
bs With youth, grace, charm, and beauty, the young woman here seated 


‘in a great wicker chair may well lay claim to the title of sweetheart. 
She wears a large black hat with feathers, long black mittens, and a 
gown of white, with a blue sash. Beside her is a tea table, and with 
one hand at her head she sits in thoughtful pose. . The artist has never 
portrayed greater feminine attractiveness. 


Signed at the upper left. Height, 30 inches; length, 20 inches. 


113 


NW Aes EDWIN A. ABBEY “0.8. Geeotps ll 


“4 The Admonition 


(Black and White) 


In wig and quaint old English costume an aged man gives warning 
advice to a pert-looking young woman, who comes through a gateway. 
A gardener, kneeling at the right of the composition, looks up, laugh- 
ing, as he tosses weeds in a wheelbarrow. 


Signed at the left, Dated, 1880, Height, 10 inches; length, 8 inches. 


w Ye 
a | I14 (a- JA; aN 
ISO , : é If o>>. 
M. R. DIXON 


Into Each Life Some Rain Must Fall 


A woman is seated, her head on her hand, holding in her arms 
another, whose head is thrown on her breast in deepagony. A tragedy 
is here told in unmistakable language, but. with great simplicity. 
Utter despair, commiseration, love, hopelessness—all are before the 
‘spectator. It is a moving work, with the touch of nature that makes 
‘the whole world kin. 


*y 


cme deg eg i 


Signed at the left. Height, 21 inches; length, 17 inches. 


3 | se a Vv, K gee Ss 
o/e , i». GEORGE INNESS 


we Goochland 


A ruiried kiln is seen on the left, and a house on the right is half 
lost among the trees. The scene is enveloped in an autumnal haze, 
and is painted in a light key of color. 


Signed at the right. Dated, 1884, Height, 18 inches ; length, 24 inches. 
, 116 | 
ia! f aie, “ “ ih a. < Sherer Ce ere oe 
TES i ty CHARLES H. MILLER | 


Ne. The Rainbow 


A summer shower is passing across the level landscape. Along a 
road at the right cattle are being driven by a herdsman, while at the 
left a rainbow gives token of the changing weather, This typical Long 
Island landscape, mellow in color and fine in tone, shows the artist in 
a class of subjects which he loves most to paint. 


Signed. Height, 9 inches ; length, r2 inches, 
117 7 
a Fie w/ CPRIereL a fan é 
foe _D. W. TRYON 
: 
Starlight 3 
j 
Going through a gateway in a stone wall, a flock of sheep are driven : 
by the farmer toward the farm buildings ranged along the horizon. The 


stars are glimmering in the sky, and the moonlight falls on the white 
walls of the houses, the backs of the animals, and on the stones in the 
fence. There are lights in the houses, a friendly glow coming through 
the windows. The atmosphere is clear and there is crispness in the 
night air, which is truthfully conveyed, while the artist has invested 
his composition with genuine poetry. 


eres 


Signed at the right. Height, 14 inches ; length, 20 inches. 


) es Ral OVE AM Dh 
ie, Ln 
+4) ea ne . 


“7-2. &. - 


118 ae we | nh ettrore torre 


A. H. WYANT 
Twilight 


The depth and power of the sinking sun are here secured in a low- 
% keyed panel, for the painter has felt, and admirably suggested, that mys- 
p terious moment of the day before it utterly yields to night. Naturally, 
the effect is concentrated upon this last glow, and nearly all the rest is 
f lost in obscurity. 


Signed. Height, ro inches ; length, 14 inches, 


VAS = IIQ AL f J/. fi Se EO re ali 
WINSLOW HOMER 1 se 
The Market Scene 


A typical harbor scene in the West Indies, with two boats full of 
negroes, who are making exchanges or sales. This picture is freely 
painted, and indicated with a broad touch, faithful in every way to na- 
ture. The sloop in the right centre towing its small boat, is crowded 
with figures in motley dress of picturesque colors and rags. One negro, 
holding on by a hand to the stays, offers something, possibly a lobster, 
to the occupants of a boat on the left. 


Signed atthe right, Dated, 188s. Height, 14 inches ; length, 20 inches. 


I20 


roe. HENRY PETERS GRAY /f: CVeire 


Origin of Our Flag 


The genius of Liberty is shown as a beautiful female figure, half 
nude, and partially draped with our national ensign. The eagle hovers 
over her. The rich flesh tints of the figure harmonize with a finely 
colored background. This was one of the latest of the artist’s works, 
having been exhibited at the National Academy of Design in 1875, 
little more than a year before his death. 


Signed. Height, r2 inches ; length, 8 inches. 


P/E) 


eee. WINSLOW HOME 


I2I 


is 


ROBERT REID ¢y s _ | 
a 


Landscape 


An undulating valley, through which is seen a distant chain of hills, 
is covered with a rich growth of trees and vegetation. Thin sunlight 
casts tender shadows, and the dominant notes are pale purple and opa- 
lescent hues. 


Signed at the right. Height, 15 inches; length, 18 inches, 


I22 


CLARA ene 
dy aM, Cine. Fz 


apy? 


Spinning 


Ina dark, old Dutch interior sits a man at a wheel, spinning. He is 
in front of a large window, and bends over, intent upon his work. The 
little details of the room and surroundings are made out vaguely, and 
all is painted with breadth and richness of color. This picture took the 
Dodge prize at the National Academy of Design in 1894. 


Signed at the right. ; Height, 20 inches ; length, 28 inches, 


123 


The Bright Side 


A subject from camp life during the war for the Union, At the 
right a group of negro teamsters are dozing and idling in the sun 
against the warm side of a tent. A man looks out of the tent door with 
a cob-pipe in his mouth. Mules and commissariat wagons occupy the 
middle ground, and in the distance part of the camp is seen under 
a sunny sky. The figures are admirably individualized in character, 
strongly drawn, and painted in full force of color. From the Hamilton 
collection. Exhibited at the Paris Exposition, 1878. 


Signed at the left. Dated, 186s. » Height, 14 inches; length, 18 inches. 


weenie > 


a I2 
4 MAL Pewee spe ses x0 
<5" WILLIAM H. LIPPINCOTT | 


In Hot Water 


A kitchen interior with a little girl seated before a large fireplace, and 
a negro servant standing opposite her, On the floor between them a 
live lobster awaits the pot. The little girl has been accelerating the 
heat of the fire with a bellows. The picture is the interior of the art- 
ist’s quaint summer studio and home on the island of Nantucket. 


Signed at the right. Dated, 1887. Height, 12 inches; length, 15 inches. 
I25 
75 o DR 
As, H. 0. WALKER “™ ° 9 “eee @ 
<or r 


Girl and Kitten 


The title is explanatory, and the black little animal against the 
delicate flesh tones of the young girl is an interesting study in values. 
There is an attractively drawn hand lightly grasping the cat, and a gen- 
eral harmony through the work, 


Signed at the upper left. Dated, 1892. Height, 18 inches; length, 15 inches, 


126 


ELIHU VEDDER 
Le Mistral 


The strong west wind is blowing with its hot breath over all the 
country, rich in its garb of midsummer. A cavalier escorts a lady up 
the steps of a garden terrace, where cypresses make massive patches of 
shade against the deep blue sky crossed by white clouds. The powerful 
color of the costumes of the foreground figures, which are those of the 
fourteenth century, keys that of landscape and sky to a harmonious 
pitch of intensity. 


PP ey 
C 8 FP im, ae ee 
o © ' 


Signed at the left. Dated, 1867. Height, 10 inches ; length, 6 inches. 


So ee 


ZO | UN ey Obes", Ce’ee reelec rz 
ROBERT C. MINOR 
Sunset 


At the left in the foreground trees which are enriched in color by the 
gathering shadows are silhouetted against the sky. A lower growth 
of vegetation crosses the canvas toward the right, and in the immediate 
foreground a gleam of light is reflected on the surface of a little stream. 
The poetry of solitude and coming rest is, as is usual with the artist, 
very tenderly expressed. 

Signed. Height, 9 inches; length, 12 inches. 


128 Aeserce HC reer ots” 
oh LOUIS MOELLER 
Information 


& 


Three men are evidently seeking information, if one may judge from — 
the many tomes that have been consulted and which lie in great con- 
fusion about the floor to the right. The scene is a room hung with 
pictures and showing evidences of taste and education. One of the 
men with a volume on his knees expounds the question. Another, 
standing up and leaning on a cane, is evidently disputing the proposi- 
tion, while a third, whose time to talk has not yet come, sits listening. 
The expressions are lifelike, of course, but they are further wonder- 
fully descriptive of character. To the right there is a cleverly painted 


eee eee ee Rett ee Ee ee 


overturned rug, and there is plenty of still life about. 
Signed at the left. Height, 18 inches ; length, r5 inches. 
eg 5 go te y) vy 
129 “4, Kee Colley t 

GB ctant WINSLOW HOMER . q 
4 
An Unexpected Catch | 4 
(Water Color) 


A fisherman in a boat, some distance back on the stream, has cast a_ f 
fly and caught an unexpected fish, which has darted out after the scarlet 
bait on the hook. The stream is dark with shadows, broken by sky 
reflections to the right. The notes of red on fish and fly give telling 
spots of color. 
Signed. Height, 10 inches ; length, 20 inches. 


130 2”, # (Pree Ceo ea 
25s GEORGE INNESS { oy 
An pei 


\ 


‘i 
Ty 


Yee ae 


Coming Storm 
In a very low key is represented the approach of a storm of wind and 
rain, all the sky being of that inky quality that portends atmospheric 
change. The distant houses stand out white against the sky, a horse 


in the foreground makes even a more brilliant note, while the greens are 
most subdued. It is a realistic rendition of a dramatic phase of nature. 


Signed at theright. Dated, 1865. Height, ro inches; length, 14 inches. 
I3I 
AFo.- HORATIO WALKER }+%._ 7 


WS >. 


Landscape and Cattle 
(Water Color) 


Two heifers are seen standing disconsolately at a gate near a house. 
One is red, the other black and white, and both are admirably painted. 
The gray sky suggests wet weather, and the greens show the effect of 
the moisture. The road leading to the house is swimming in water. 
The color scheme of grays is consistently maintained throughout the 
work. 

Signed, Height, 15 inches ; length, 22 inches. 


ge A RO 
.C. D. GIBSON 


These Young Girls Who Marry Oildish Million- 
aires 


(Black and White) 


These young girls who marry oldish millionaires, ‘‘ Should not,” says 
the caption, ‘‘ be wandering over the plains with impecunious cowboys, 
when their husbands are trying to entertain them.” The old man and 
the young girl are here seated in a room, 

Signed at the centre. Height, 16 inches; length, 26% inches. 


«Feetre ss 


~ Ft’. Mhez Me 


Cherrecer 2 


733 fa wf > uz Chroezeenre ; 
ie ay THEODORE WORES 


Street Scene in Japan 


A flight of steps leads up to some buildings at the top. Such streets 
with steps are not uncommon in hilly countries, and are frequent in 
Japan. Both sides are lined with dwellings or shops. Every one of 
the buildings has the queer decorative fronts of this picturesque land. 
A figure or two lingers about, and the distance is illumined by the sun- 


light. 
Signed at the right. Height, 12 inches; length, 9 inches. 
13 
x Pa aR 5 hh re. 
Ao. CHILDE HASSAM Ot. Meretl leis 


Rainy Day yw AY 


A Boston street on a rainy day. Street cars and figures animate the 
scene, in which the atmospheric effect and all the substantial details are 
excellently rendered. 

Signed at the left. Height, 6 inches; length, 8 inches. 


135 


SANFORD R. GIFFORD ' 
a7 Ht. Oy App OLY 


% 


4? €> & Pallanza 


A portion of the buildings of the town, and a long stone pier, extend 
into the lake from the right. Beyond them the Alps make a barrier 
against the sky. Some of their snowy peaks are lighted by the sun, 
and the white walls and tile roofs of the houses form a harmony of red 
and gold, which is reflected in the rippled water. Boats enliven the 
scene. This picture is justly ranked among the finest effects of atmo- 
sphere and sunlight produced by the artist. 

Signed at the left. Height, 8inches ; length, 14 inches. 


me 


\S7o 136 He. Dees ecc ie eee | 
CHARLES SPRAGUE PEARCE Hl 
Meditation 


A young nun, seen in profile facing towards the left, is reading over a 
score of music. Her placid face, pure in outline and fresh in color and 
expressive of absorbed interest, is framed by her white linen headdress 


4 and the black hood of her robe, and given strong relief against a dark 
background. 
Signed. Height, 22 inches; length, 20 inches. 


eek "37 Me. Sede loess eZ 
OS > Mia ARTHUR PARTON 
Haying 


‘Half in sunshine, with foreground in strong shadow, is a hayfield. 
In the centre a wagon stands, upon which the load is thrown. The 
farm hands are on either side, and the sun touches the backs of the 
white horses. A great tree stands at the right. The sky is filled with 
clouds brilliantly white and luminous in the sun. 


Signed at the left, Height, 12 inches; length, 16 inches. 
| 138 ‘ 
‘ 
D. W. TRYON 226°, Beer... > 
3 i f Se Oe OSH 2 a4 
ar BY r ‘s ai at 


November 


The poety of the American autumn is well expressed in this compo- 
sition, which is delightfully balanced in arrangement and refined in 
_ color. A stretch of flat land leads up to a wood through which is seen 
the light of the sky. There are brown grays, touches of red, and here 
and there a bit of yellow, all characteristic of the season. The lover 
of nature will be impressed with the truth of this picture, and the evi- 
dent close observation displayed. This work secured for the artist the 
J. W. Ellsworth prize, at the Chicago Art Institute. 
Signed at the left. Dated, 1887. Height, 20 inches ; length, 31% inches, 


- TO et ee ee ee 


EBON 7 ea Hearesterze, t)> 


WINSLOW HOMER 
On the Cliffs 
(Water Color) 


Ry Sy 
a> 
tr 


Some children are playing on a bluff overlooking the sea. They pick . 
flowers or stand gazing at the ocean, which is swirling in eddying | 
masses beneath them. There is good action and variety of color, and | 
one feels the stiff sea breeze which is evidently blowing. Far below, a 
ship is made out vaguely. 

Signed at the night. Dated, «ga. Height, 14 inches ; length, 20 inches. | 

Lf, 42 B9- : 


We a i ; 140 yep ot. Cerrveel le. 
CHARLES WARREN STETSON 


Out of Consecrated Ground 


The dead man, who has passed away by suicide or under the burden 
of some crime which deprives him of a title to the rites of christian 
burial, is being borne to his last resting-place in one of those waste 
spots where the bodies of the suicide and the murderer are laid away 
under a ban of ostracism which reaches even to the grave. The sinister { 
significance of the subject is aided by the weird hour and the troubled 
weather in which the scene occurs. The tragic sadness of an episode of 
only too common occurrence in the past, and which is not unknown in our 
own enlightened time, finds powerful and poetic translation at the artist’s 


a ae a ee 


hand. 
Signed. Height, 18 inches ; length, 23 inches. | 
his MK Seth ser te 
SLO. F, W. ROGERS 


Indisposed 


A small and melancholy chicken, whose ruffled plumage and attitude 
of utter dejection amply justify the title. 
Signed at the right. Dated, 1882. Height, 9 inches; length, 6 inches, 


| i *, I a 
are Dil q 1a Penh alter 72 C8 
eC. FRANK FOWLER 


An Arab’s Head 


The portrait study of an Arabian sheik, with white turban and 


burnous. 
Signed at the left, Height, 7 inches; length, 5 inches. 
143 7", i 
i Mee ms NeekereTlu, . 
| “Ee. F. HOPKINSON SMITH 
Mg (Water Color) 


Blazing white walls tinged with pink, quaint balconies, and red-tiled 
i ». roofs are represented here in typical Spanish fashion. Some donkeys, 
¥ driven by a boy, are halted before a doorway. The driver gossips 
i. with a neighbor. The sky is turquoise blue, unflecked with any cloud, 
and there is a fine feeling of sunshine. The work is brushed in with 
great dexterity. : 


; be Signed at the left, Height, 13 inches; length, 24 inches, 


2 ashe raaNneag ana 
f 29°: ROBERT BLUM nih,” 


Toledo Water Carrier yy f 


.. This familiar figure of all Spanish communities is seen at the door of 
“ae a house, heading his string of donkeys, and serving a maid-servant who 
has come out with a jar at the wicket gate. The shadows of the sur- 
rounding buildings fall upon the foreground, but leave the house wall 
and the figures in full light, which is rendered with a bold, broad, and 
certain touch. 


Signed at the right. Height, 14 inches; length, 18 inches, 


SSO, us 4 AM “ALVA cere 
SAMUEL COLMAN 
Southern Italy 
(Water Color) 


Looking off from a rocky hillside surmounted by a ruined tower, and 
covered with great, tall trees, there is spread out a classic ideal land- 
scape view with a nearby city full of medizeval castles, campaniles, and 
towered battlements. The river seen in the foreground wanders back 
past the city, and winds away to the distant sea. All the land is lying 
bathed in a golden glow from a rich, colorful sky, warm at the horizon, 
and streaked here and there by cloud forms. Mountains rise up at the 
extreme right, and the composition is full of interest. 

Signed at the right, Dated, 1882, Height, 17 inches; length, 21 inches, — 


JA BO. A. Z. BAKER 
The God of Silence 


Two figures, one probably a priest, are before an Aztec god, rudely 
carved. In front of ita fire burnsin a brazier. The walls are decorated 
in fantastic designs and in crude colors. A skin rug is thrown on the 
floor to the right and a quaint stand, carved after the likeness of some 
animal, holds a little faience figure. The personages are clad sim- 
ply in blankets, and are invoking the god before them. The con- 
ception is novel and historically interesting. 

Signed at the left, Dated, 1893, Height, 29 inches; length, 21 inches. 


aay Mir. 7 W279 po Sea77 
IO. WILLIAM T. SMEDLEY 


Embarrassment 


Seated between two rustic beauties, who tease him with mock cajole- 
ments, a rural swain realizes the familiar sentiment: ‘‘ How happy 


uld I be with either, were t’other dear charmer away!" The scene is 
© the hallway of acountry home. The trio, each of whom is a distinct 
type, are seated on a great, old oaken settee. Beyond an angle of the 
wall at the right, the matron of the house is seen at work, and the 
family cat stealthily approaches around the corner. 


Signed at the left, Dated, 1883. Height, 16 inches ; length, 24 inches, 


Ah O- WV: BIRNEY 9 JS 


eo" 3 VW 
Dolls’ Concert ¢ © } 


f 


148 £ 47% goer a5? 


Having arranged her puppet favorites as an audience, on top of the 
. piano, their little mistress is regaling them with a concert as she prac- 
5 tices her exercises. 


Signed at the right. Height, 8 inches; length, rz inches. 
vo 
T49 
SOC, WINSLOW HOMER © 41. Berzekecz ore ‘ 
Rations 


There are hard times in camp. Rations are short and the sutler’s shed, 
under its arbor of pine boughs in the foreground, is the cynosure of 
many hungry eyes. One campaigner, happy in the possession of funds, 

7 is seated on the rude plank table at the sutler’s door complacently de- 

, vouring a huge segment of cheese as a flavor for his hard-tack. 
Another trooper leans upon a shelf and watches his occupation with 
amelancholy born of an empty purse and a craving stomach, with 
nothing but unflavored hard-tack to fall back upon. The humor of the 
situation is accentuated by the side glance which the lucky enjoyer of 
extra rations—who is a private soldier—casts upon his neighbor, whose 
uniform shows him to be an officer a few grades above him in rank. 
In the background are seen the tent lines of the encampment and the 
troop horses. 


Signed. Height, 18 inches ; length, 12 inches. 


IO OI ON Or ae 


SOS DO ¢- 7 Be NT 
A te 150 “CoaGl, 43 Leese 
\} Ae —-s GEORGE INNESS 
\ Afternoon Glow, Pompton, N. J. 


An unusual composition is given here, with a single tree nearly in 
the centre. A flat plain runs along to a line of hills, whereon play the 
golden tints of late afternoon. On the right, the slender trunks of 
two trees are brilliant in the sunlight. At the left, beyond a clump of 
trees, is a powerful touch of orange. The foreground, in shadow, is 
still luminous and rich in color, and there is a fine effect of distance 
and atmosphere. As usual, the tree forms are well given with syn- 
thetic skill, and the character of the country is admirably rendered. ~ 


Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches. 


I5I 
c LEON MORAN “+7 Aezzeeposo72 
Eel-fishing at Twilight 


A twilight scene at Greenport, L. I. Upon a crumbling old wharf 
in the foreground, which juts into the bay from the right, and at which 
some dories are moored, boys are catching their shiny prey with the rod 
and line. Inthe background the village is seen, with its fishing fleet ~ 
at anchor. Evening is closing in, and lights already glimmer in the 
distant windows. Three boys count over their afternoon’s catch, while 
a couple of others still linger in the hope of adding to their spoil. 


Signed. Height, 18 inches ; length, 32 inches. 


I 2 rs -) am be ; 
5 cc e SF D3 0@22¢ he warrcerr 


mae. CHARLES X. HARRIS 


Gallantry 


A cavalier, in a red coat and buff leather boots, riding through a 
country lane on his white horse, leans forward, as he removes his 
plumed hat to salute a milkmaid walking in his direction and carrying 


r 


‘ « 
two pails. The figures are well drawn, and pushed toa high degree 
of finish in painting. The horse isa fine animal, represented in the 

af) picture with knowledge and skill, and the setting for the episode, with 

i its overarching trees and vista of landscape at the right, is attractive 

in composition and color. The scarlet coat of the cavalier forms a 

i central note of great brilliancy. 


Signed at the left. Height, 13 inches; length, 934 inches. 
P 153 
4 c.-»9--_p, 
: ‘<— : : “ae A : Pa gi 
SEO. ; LYELL CARR. ¢. “e742 */eapne 


A Ride Home at Sunset 


Brother and sister, mounted on a donkey, are returning to the planta- 
tion over the newly ploughed cotton fields. A rolling country behind the 
figures shows, in contrast to the red soil and the ruddy glow of even- 
ing, the fresh green of the spring verdure. The figures are types of 
unconscious rustic picturesqueness. . 


Signed at the right, and inscribed, Talburt Plantation, 1891. 
Height, 26 inches ; length, 20 inches. 


Ww 
s a T54 rsa Pz ge 
O26 (LAP 3 ¢e ry ferep ere PPE NS rahe 


J CHARLES C. CURRAN | . & 
fercc C4 €o-4 > 


Breezy Day 


Upon a grassy slope, over the crown of which is seen a bright sky full 
of fleeting clouds, two girls are spreading the household linen to bleach. 
In the foreground one holds a sheet which blows in ripples before her, 
awaiting the moment when it shall extend itself, ready to be lowered to 
the ground. The second figure kneels behind her, toward the left, 
placing a garment on the grass, where others are already spread out. 
Awarded the third Hallgarten prize at the National Academy of De- 
sign in 1888, 


Signed at the right. Dated, 1887. Height, r2 inches; length, 18 inches. 


r 12 
i 


SSO. 5 @/7. S. Beecher 
GEORGE INNESS 
Rocky Dell 


Masses of tree forms are at the left, all in deep shadow; on the right 
smaller groups of trees gradually recede into the distance, while a rug- 
ged pathway, full of rocks, comes down the centre. The picture is half 
in sunlight, half in shadow, the contrasts being effective. With a feel- 
ing of warm yellows on rocks, trees, and in the sky, there is alsoa 
careful searching for form. The work is especially interesting, since 
it is one of the artist’s early efforts after leaving the engraver’s bench. 


Signed, Height, 32 inches; length, 42 inches. 


6 ‘ ete 
©. : I5 ?? pet ot LeOPe 2226022 : 


PHILIP B. HAHS 
Lullaby 


Seated upon the steps of a rural home, embowered in the summer 
verdure of a luxuriant garden, a little mother, playing at the more 
serious duty of her future, soothes her doll to sleep. 


Signed at the right. Height, 11% inches; length, 8 inches. 


4 


157 


Te ol WILLIAM A. COFFIN 


Sunrise in January 


It may be said that this sky is truly American in character, for such 
brilliant, clean-cut cloud masses and such intense ruddy color are only 
seen in our clear northern climate when the thermometer is near the 
zero mark. ‘The cloud masses are lighted by the rising sun, which is 
just about to show itself above the distant range of hills, and the rifts 
of clear sky near the horizon appear green by contrast with the intense 
vermilion glow. The snow on the ground is deep, and newly fallen, 
for it absorbs the light instead of reflecting it, as would be the case if 
the snow had melted and frozen again with a smooth and icy crust. 
In the middle distance, a bit of the frozen surface of the brook reflects 
the glow of the sky, and forms an effective note of color in the wide 


} 
1 
® 
u 
: 
iq 


Ae eto Pn 


— ~ rr Ahelleere 


Sa a ee 


Se a a 


ath ir ra 


expanse of white. The landscape is enveloped in the half light and 
mystery of the world’s awakening, and the effect is handled with a 
comprehensive sense of the ensemble. It is broadly painted, and 
notable for the fine drawing of the trees. In the foreground, where 
the wind has had a clean sweep over the country, the snow is blown 
into long drifts. 

_ Signed at the right. Dated, 1896. Height, 30 inches; length, 4o inches, 


158 calge' 
QF Le teie,), +d 


Maes A. C. HOWLAND 


A Pot Boiler 


A page from the artist’s New England sketch-book, so prolific in droll 
and quaint subjects. The title of the picture is derived from the em- 
ployment of an old woman at the pot in which the family linen is being 
laundered in the courtyard of the farm. 

Signed at the right. Height, 12 inches ; length, 18 inches, 


159 
WINSLOW HOMER 


4 36>. Fodder «# “eo ° is MceFecr 


(Water Color) 


_ The cattle have had dry pasturage, and a farm hand carries them 
some fresh cornstalks from the field where the harvest of the maize is 
in progress. As he crosses the parched and weedy meadow with stal- 
wart strides, the cattle, recognizing his approach, gallop joyously to 
meet him, 

Signed at the right. Height, 14 inches ; length, 20 inches, 


oa 


160 


Pe, 
4 


a ae | 


GEORGE INNESS | 
SOS rata End of the Rain “ot” 


A hot, fierce summer shower has swept over the country, and is break- 
ing away before the close of the afternoon. At the left of the canvas 


yrot 


: » egh  * 
MO Le eg ag Chae "OLA atm 7 
COR Shee ¢ 


ort 


the brightness of the sunlit sky shows through the dividing masses of 
sulphurous vapor, which are driving in turbulent flight, but still darken- 
ing the dripping earth with their shadow. ‘The storm, while it has 
spent its force, preserves sufficient power to drench the distance with 
the last downpour of its accumulated moisture. In the foreground, 
knee deep in the luxuriant grass of a rich pasture field, a white cow, 
which has ventured forth from her shelter under the orchard trees in 
the middle distance, seems to watch the departure of the tempest. 
The landscape shows the ripe and sumptuous vestment of midsummer 
enriched and refreshed by the rain, and emerging, strengthened and 
revived, from the storm with a serene repose which renders the tur- 
bulence of the sky more vivid by contrast. The tonality of this canvas 
is wonderfully beautiful. ; 


Signed at the right. Dated, 1891. . Height, 30 inches; length, 45 inches. 


- 
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F 
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: 

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ce 


I61 a4 CC. Mberts pltocy§ 
gee, LOUIS MOELLER ’ “4 


j 
Argument 


About a table are grouped four workmen, listening with suppressed 
excitement to the argument of their employer, who, with gray beard 
and dressed in black, makes an impressive foil to the others. Each 
face is a study in expression, and all are rendered with rare character ~ 
searchings. To.the smallest detail, nothing has been neglected: The 
costumes are realistic, and worn easily; the poses are nature itself, 
while the surroundings give an absolute air of verisimilitude. Not less 
clever than the faces are the hands, each an expressive study in itself. 
The disposition of the figures is well managed, the lines being happily 
arranged, and the eye centring on the central factor—the speaker. 

Signed at the right, Height, 18 inches ; length, 24 inches, 


. 162 "Wi 
ro LL : oe ; 2 fo 
f HOMER MARTIN ~ Ke fee 


A Brook in France a * 


A lovely transcript of nature depicted with artistic feeling, and show- 
ing in its scheme of color the fine qualities of the artist’s work. 


Signed. Height, 9% inches; length, 7% inches, 


mh ee 
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sone 


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pa arg She a 


2 : Ct IS Cee pee. OF 25 
Vs EDWARD KEMBLE 


Temptation 


(Black and White) 


A little darkey’s head comes over a fence, and with longing look he 


gazes ata watermelon. The ‘‘ temptation” is obvious at a glance. 


Signed at the right. Dated, 1897. Height, 10% inches; length, 15 inches. 


16 , 

4 x he SOM SH Cire. 

Uy ae LEONARD Neenah | 
Autumn 


The interior of an American forest, with the trees splendid in their 
crimson autumn vestment, and the ground tapestried with fallen leaves. 


Signed at theleft. Dated, 1889. Height, 16 inches; length, 22 inches. 


165 
¥ ’ Py 8} 
‘ i ~% ... “GEORGE INWNESS at! t ed Cevaga . 
a2 ~ Sf / Pane, Ve Go by OWA tf K , 
“ Autumn Silence /““": “° “@erwr* 
l' 440. 0uk Aor) 


Here is a stretch of meadowland, out of which rise several grand old 
trees, impressive in form and tender in autumnal tints. These are 
rendered in nebulous shapes, half obscured by the Indian summer haze. 
A feeling of vastness permeates the composition, and the arrangement of 
delicate tones is well maintained. There is warmth in the air which, 
while not that of midsummer, is still grateful, and in this interpretation 
of the late autumn weather the artist shows himself both veracious in 
observation and sympathetic in depiction. 


Signed at the right. Dated, 1893. Height, 30 inches ; length, 45 inches. 


| 166 3 toes Ral vg 
SFO, CHARLES F. ULRICH 


“Granny” 


In a quaint old interior, seated in an archaic green rocking-chair, sits 
‘* Granny.” The floor is covered with a rag carpet; the walls are white- 
washed, and everything is scrupulously clean. In an alcove in the cen- 
tre is seen an old-fashioned dresser. A blue curtain is hung up over 
half the opening. A towel, a tin pail, and other accessories are notice- 
able. ‘The woman dressed in blue with a brown apron and a cap, has 
her spectacles on and reads. She and her environment are quaint and 
interesting. The finish is almost microscopic, and the panel should be 
carefully examined. 


Signed at the upper left. Height, ro inches; length, 12 inches, 


167 
Jo©e M. A. WOOLF e% 347, Meller 
Little Housekeeper 


A little girl is at work in the kitchen, assisting in the preparation of 
the family meal, with her doll on the floor beside her chair for com- 
pany. 

Signed at the left. Height, zo inches; length, 6 inches. 


Lytfoo, 08 7% AL F3 kG 
: ay * "4 
jaye’ WINSLOW HOMER 1 4%" 


Maine Coast 


The ruggedness of the Maine shore is given in this canvas with much 
impressiveness. The composition represents a heavy surf breaking in 
wild disorder on some dark rocks. The sea is surging with tremendous 
force ; the flying foam, blown by sharp gales, is thrown shoreward, and 
the impetuous movement of the mighty ocean is presented with striking 
power. ‘This is one of the artist’s finest works, and fully deserves the 
name of masterpiece. 


Signed at the right. Dated, 1896. Height, 30 inches; length, 44 inches. 


169 fee. athe we aid 


nn : ‘4 
ih Soleo GEORGE INNESS \/ Wi 
y Wood Gatherers | 


| i . _ A glade in a woodland contains two figures returning home with a load 
of fagots. A white house is seen in the distance on the right, and a 
group of buildings appears at the left, with a low hill behind them. The 
color scheme is composed of the opalescent grays of early morning, such 
+ as the artist delighted in, while the general treatment is simple and 
ie broad. Tree forms, suggested rather than made out, but given full 
Bp | value both of mass and color, are effectively rendered, and the darker 
oe , notes of gnarled trunks outlined against the more tender tones of back- 
v4 ground are of value in the composition. Here is seen again the wonder- 
ful control the painter had of his palette, for, though he has used the 
strongest tints, the ensemble is blended in an exquisitely delicate har- 


mony. 
Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches, 
170 7 
| 7 J3Qreze MNorsered Tee ree ow 
S/O. OW ot R, 


Sunset 


A vista looks across a valley to some distant purple hills, which are 
silhouetted against an evening sky of pale yellow topped by dramatic 
leaden clouds tipped with blood-red tints. Here the forms have been 
carefully studied, while great depth has been given to the receding 
valley. Tothe left are some rugged pines showing against the sun- 
set sky. 

Signed. Height, 8 inches; length, 13 inches, 


ihe PORE ae Naty a NN fA. : 
Mee We REPEC Cereape 


DENNIS M. BUNKER DEMON. 
In Blossom Time 
(Water Color) 


On the left of this decorative composition stands a young girl looking 
pensively at her hand, upon which flutters a butterfly. She is dressed 


in white, her robe being caught up with a golden girdle. From her 
shoulders is draped a pale blue scarf, one end of which she holds with 
her right hand. A fillet binds her golden hair, and her feet are bare. 
: Behind her, in graceful lines, are two young trees in full flower, their 
blossoms of pink and white telling against a sky streaked with blue and 
white. Scattered on the ground are white leaves from the blossoms, and 
in the distance are purple hills. It is a delightful conception, grace- 
fully and skillfully executed. 
Signed at the right, Dated, 1882. Height, 22 inches ; length, 17 inches. 


d 172 
LL, Sant 
Ap is F. D. MILLET SEN 


Lacing Her Sandal 


Seen in profile, at full length, and turned toward the right, a charm- 
ing young Greek girl stands, with her right foot placed upon a stool 
covered with a leopard skin, repairing the loosened lacings of her sandal. 


Signed at the right. Height, 12 inches; length, 8% inches. | 
i 173 i 
h a7, eR 
wh ©» F. DE HAVEN oe OC os 


Autumn Twilight 


Through a pathway past an old tree a shepherd drives a flock of 
sheep. The distance, lit by the departing sun, is warm by contrast with 
the foreground shadow. A crescent moon is in a luminous sky, which 

| fades into delicate purple tints. The quiet of evening pervades the 
‘ picture. 
Signed at the left. Dated, 1893. Height, 16 inches; length, 20 inches. 


» I74 y 
Noo posi Shen dae 
fio JOE EVANS ler of ae C 


Landscape 


te 
A study of suburban nature, in which artistic expression is given 

to a simple scene with much dignity and charm. 
Signed at the left. Dated, 188s. Height, 24 inches; length, 16 inches. 


I75 Spo" ei 
| | 75 A kweeherelle > - 
wae Pe RA BLAKELOCK |... 


Encampment 


_ Under a'storm-laden, turbulent sky is an Indian encampment, the tents 
i. catching a burst of sunlight. Beyond is a background of great trees, 
a, rich and profound in color, while the distance on the right is illuminated 
| with warm tones from the break in the sky. The loaded pigment is 
skillfully managed, and conveys a sense of richness. __ 
Signed at the left. Height, z2 inches ; length, 20 inches. 


, ee 176 ett. ti ermn tee, 
AES JOSEPH DECKER 


The Gluttons 


"FECL 


In a great heap of nuts sit two squirrels, gorging themselves with 
their favorite food. The bright eyes of the little animals sparkle as 
they make away with their meal, and the action and expressions are 
excellent. Incidentally, the painting of the nuts is an achievement, for 
each one is given as a piece of still life, while the mass is unified. The 
squirrels’ winter store, which is gathered in the hollow of a tree, is 
mingled here and there with an autumn leaf. 

Signed at the upper left. / Height, 11 inches; length, 17 inches. 


v RTT " 
in dl“ / led FP <p. 
A4O ©, GEORGE INNESS’ ‘" | Cel cer. 


: ¢ eal 4 V7: 
The Mill Pond . 0 * |. A M4 


All nature burns in the soft enchantment of the Indian summer. A 
glory of crimson and gold invests the earth as with a regal mantle, the 
garish splendor of which is chastened and mellowed by that deceptive 
haze which hides the frosts and bitter weather of to-morrow, as if such 
harsh and inclement seasons were never to be. In the charm of this 
brief and beautiful period of the year, the artist loses himself in a 
species of dreamy ecstasy, yet without ignoring nature in his indulgence 


Ff Ov 


Od E>» 


in the ideal she invokes to his eye. The structure of the trees in the 
foreground, the solidity of the earth, the limpid and transparent placidity 


-of the mill pond, and the details of the farther shore, resolve themselves, 


upon analysis, into substantial facts. Even the boat, floating upon the 
pond, preserves its distinct character without obtruding itself as a 
special object. 

Signed at the right. Dated, 1889. Height, 36 inches; length, 24 inches. 


178 
GEORGE FULLER —.7 gee 
Early Portrait of the Artist 


The virility, the charm, and the sentiment of this painter are all fully 
in evidence in this canvas, which represents his art at its best period. 
The portrait is simply conceived, with the face in contrast to a rich, 
mellow background. Modelled with appreciation of mass and form, 
there is a sumptuous quality of color rarely obtained. The work is dis- 
tinctly personal and is a fine example of the individual style of the artist. 

Signed, Height, 22 inches; length, 18 inches, 


Pail a9 “208 y Qe ‘rr eCerre 
De We TRYON ae 


Hb 


“A Dewy Night—Moonrise 


The moon has commenced her ascent, on one of those still summer 
nights, when nature seems to hold her breath for hours together, and 
when the earth exudes a haze, as if breathing for relief from the oppres- _ 
sion of the air. This vapor softens the moon’s tranquil brightness, and 
gives it a mellower color, without depriving it of its diffusive quality. 
The sky is made luminous by her pervading power, and the darkness of 
the earth is converted into a vision, in which one may trace the sur- 
roundings as in the dim pictures of adream. In the foreground area 
farmhouse, where a lighted window makes a spot of warm color, and a 
couple of haycocks, defined in broad masses. The distance shows the 
shapes of some fruit trees in the orchard beyond the farm. Absolute 
tranquillity is the essential spirit of the scene. 

Signed at the right. Height, 20 inches; length, 32 inches. ° 


180 


BAe, H. SIDDONS MOWBRAY “44. Leoy/Ftcoe 


we Evening Breeze 


A troop of graceful sprites, in delicately tinted and diaphanous dra- 

- peries, float over a flowery mead upon which still linger traces of the 
light of fading day. The figures are subtly differentiated in charac- 
ter, and the suggestion of soft and easy movement strikingly conveyed. 
Just as their draperies repeat the tenderly tinted colors of the early 

_ evening sky, the slow cadences of the instruments on which they per- 

~~ “form express the languorous rustle of the evening breeze over summer 
fields and bowers. 

i Signed at the right. Height, 24 inches; length, 30 inches. 

: 

: 

| 

. 


; 181 Bi ald ¥ ie 
aaa pw Clee Orce se Che oO oe 


CHARLES H. DAVIS “ 
a HP! 


The Deepening Shadows (Vi) 


Pi 


a hes 
Meo. fy ; 


It is the hour when, day being ended, earth awaits, in momentary an- 
ticipation, the complete mastery of night. The veil of darkness com- 
mences to obscure the final illumination of the sky, and to blend the 
details of the landscape into a harmoniously indefinite suggestiveness. 
The scene itself is a masterly construction in two broad and simple 
planes. From the foreground the moor, covered with herbage which 
glistens with dew, rises to a ridge in the middle distance, over which 
appear the roofs of houses, built on the farther slope, and a couple 
of trees at the right. Beyond this hollow the moor rises again to a 
high horizon, its monotony broken on the right by the windings of a 
road. There is no attempt at an embellishment of these simple facts. 
The charm of the work is in its subtle grasp of that sense of solitude 
and rest which belongs to such scenes at such an hour. 


Signed. Height, 30 inches; length, 45 inches. 
| / 182 
3 ¥ 
: J. G. BROWN A. Mes teres 


> ao 
8s A Merry Air and a Sad Heart 


Old age and poverty form a contrasting combination with the light 
avocation of this poor street musician, whose face mirrors the sentiment 


of his soul. Adversity has taught him philosophy, however. Resigna- 


tion to his lot mingles with the expression of sadness which he turns to _ 
the world as an appeal for sympathy and aid. In its pathetic submis- 


siveness of attitude, its imploring earnestness of feature, and its fortu- 
nate selection of a type of humanity familiar to all, this picture forms 
one of the most notable character studies the artist has produced. In 
color and technique it belongs with the highest efforts of his art. 

Signed. Height, 30inches; length, 22 inches, 


Edge of the Forest 


A sturdy oak tree, a stately elm, and, behind them, a forest of other 
trees, form a substantial mass on the left of the canvas. Caught by the 
last rays of the sun, they are illuminated and make colorful notes 
amid the surrounding shadows. A streak of green light in the sky 
and a touch or two of pink give variety to the general effect. The 
work is full of personal feeling and possesses remarkably fine qualities 
of color and handling. 

Signed at the right. Height, 32 inches; length, 48 inches. 


Me 


~S ,” “GEORGE INNESS 
A Sunny Autumn Day 


LP$O°D + 4 k \/ 184 OC @. 78 Zees- 


~ Running through the centre of the picture, a row of stately trees is 
outlined against the sky. In the distance, still another row of trees 
and a town may be seen—all in brilliant sunlight. The foreground, in 
dark shadows, makes a strong contrast. There is profundity in the 
blues of the sky, with again a contrast in the brilliant whiteness of the 
clouds, which shimmer in the sunlight. A pathway runs along to the 
left. The whole picture is a series of contrasts—darks against light, 
lights against dark—and, with the introduction of brilliant autumnal 
tints of crimson and yellow against the blue and white of the sky, the 
scheme is further accentuated. Notwithstanding all this, however, no 
law of harmony has been violated, and there is great refinement and 
subtlety in the general effect. 

Signed at the left. Dated, 182. Height, 32 inches; length, 42 inches. 


| 183 Coors retse hat Covet. 
we” CHARLES MELVILLE DEWEY 


~~ 
*- 


~~ & 
a X 


a : Early Morning 


This large composition represents a phase of nature difficult to realize, 
} for the effect is most ephemeral, and its fleeting qualities are only caught 
4 by a profound student of nature. A clearing in a woodland carries the 
spectator’s eye over a long stretch of distance, dotted here and there by 
tree forms, mistily made out in the nebulous light of approaching day. 
A large tree at the right centre rises up with sturdy dignity, and 
branches out at the top of the composition. All is kept quiet and sub- 
dued, in tones of rich color, and the sky is indicated with a knowledge 
born of much observation. A red sun struggles out from the clouds. 
Altogether there is a feeling of solemnity, of the hush preceding the 
activity of full daylight, a sentiment which the painter has admirably 


interpreted. 
‘ Signed at the right. Height, 37 inches; length, 50 inches. 
z ae 
186 i 
444 DO HAF Ate re 
| é P WINSLOW HOMER _ = 


iZ e, 
An 


The Life Line 


Stretched across the upper part of the composition is a great cable, 
attached to which is the boatswain’s chair, wherein sits a sturdy seaman, 
clasping in his strong arms the fainting figure of a shipwrecked woman. 
Her clinging garments, saturated with the salt water, outline her form, 
except where they are distended by the force of the gale. The sea 
breaks and tumbles about in awful turbulence beneath the seaman and 
his charge as they are being drawn slowly but surely on the life line to 
the shore. This is a dramatic scene rendered with striking and original 
force, and it is marked by the best qualities of the famous painter’s art. 
From the collection of the late Catherine Lorillard Wolfe. 


Signed at the right. Dated, 1884. Height, 30 inches ; length, 44 inches. 


SO. S£S8.-- 


poe 


THIRD NIGHT’S SALE 


THURSDAY, FEBRUARY 16, 1899, AT 8 O’CLOCK 


AT CHICKERING HALL 
187 


Low Tide 


Here is a study of sandy beach, with rocks and seaweed, beyond 
which the ocean lies in quiet mood. The sky is filled with clouds, a 
patch of blue showing at the top, and some sea-gulls are flying about. 
It is a genuine bit of nature, just in values, and ably rendered, while the » 
colors are harmonious and true. . 


Signed. Height, 12 inches; width, 16 inches. 


183 
WINSLOW HOMER #& 2: /2¢ne 


The Buccaneers 
(Water Color) 


Under a group of spreading palm trees half a dozen swashbucklers 
watch with interest the progress of a naval fight. The dark blue 
ocean stretches away, and a bright sky makes the greens of the palms 
tell forcefully. These are wonderfully indicated with great breadth 
and truth. The figures are only suggested, but they seem full of detail. 


Signed at the right. Dated, 1885. Height, 14 inches; length, 20 inches. 


GEORGE H. SMILLIE ~7" Ate Zorer nad 


ee, (> Ayo ROBERT F. BLOODGOOD 
a ris po 
A Miss is as Good as a Mile 


_ The sportsman has flushed a quail, but his aim has played him false, 
and the bird takes rapid flight across the foreground. A puff of smoke 
in the thicket, which closes in the background, indicates the spot from 
which the unlucky shot was fired. 


4 Signed at the right, Height, 14 inches; length, 21 inches, 


ce er 1272. Keewesch ree ge 
** » \ WAKEMAN HOLBERTON 
Brook Trout 


A study of brook trout, which have been thrown on a grassy bank to 
await being gathered into the creel. Wild strawberries and violets 
variegate and brighten the color scheme. 

Signed, Height, 12 inches; length, 16 inches, 


a 


# on Sl vas CLOSE Cc eee 


D. JEROME ELWELL 


Breezy Day 


* Sunlight and shadow, with clouds of white, in a sky of deep, cerulean 
blue, produce a varied effect of tones over a landscape of fields and 
trees. One great, dark clump is in the middle, and shows deep 
shadows. Others run in lines across the composition, while a yellow 
field of grain in the distance, receiving the full effect of the sun, blazes 
out in strong contrast. A fence runs across the foreground. The 
greens are notably veracious. 


Signed at the right. Dated, 1887. Height, 15 inches; length, 27 inches. 


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192 ‘ah ol (7 AS arg ¢ Peet” 
CHARLES X. HARRIS» 
The Scouts 


Two horsemen, clad in the sombre brown and gray of the Cromwel- 
lian epoch, sit upon their steeds, and look with anxiety over the landscape 
stretching far in the distance. Both figures and animals are drawn in 
great detail, and are carried out in a thoroughly conscientious manner. 
Over all is a breezy sky, indicated with breadth, which contrasts 
agreeably with the minuteness of the personages. The sunlight shows 
through the clouds, casting shadows, or lighting the grass and distance. ° 
The composition is exceedingly well arranged in harmonious lines. 

Signed at the left, Height, 18 inches; length, 12 inches, 


" 


193 att. Helles -< 
WORTHINGTON WHITTREDGE 


Summer Evening . 


Two figures are indicated walking in the shadow of some rocks ina 
cove. A warm glow is diffused over the sands and rocks, which ter- 
minate at the sea. This last is a deep blue, with an occasional white- 
cap. The impression is well rendered, and the work instantly suggests 
having been done before nature. 

Signed at the left. Dated, 1867. Height, 14% inches; length, 20% inches. 


194 af. wre Aclhirrcarce 
LOUIS MOELLER 


News 


Four men are grouped about a table, while one, an old man, reads 
from a paper. As in all the work by this artist, there is wonderful char- 
acter study in the faces, each one of which reflects a different expression. 
Anticipation, eagerness, amusement, and surprise are all realized with 
fidelity. A chair to the right, with coats, hats, and papers, is an inter- 


. esting still-life achievement, while some books to the left are no less 


skillfully done. The background is a homely interior, with pictures on 
the walls, a screen, and a bookcase, 


Signed at the right. Height, 18 inches; length, 24 inches. 


| 


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Tag Oo. 3 ¥ 

Ye fay e@zeticletz» 195 . ; 
FRANCIS C. JONES bo 
Won’t Play ! E 


The pet of the family isin a sulky mood. The wiles of mama and 
auntie fail to seduce it into amiability. From its post of vantage in the 
tall, old chair it defies their united advances with persistent petulance. 
The scene is the interior of a rich, old wainscoted chamber, and the cos- 
tumes are those of the Colonial period. The female figures, which are 
grouped in the centre of the composition, exhibit finely differentiated 
types of girlish and young matronly beauty. 

Signed at the right. Height, 20 inches ; length, 26 inches. 


| 
rf 


| 


at 
A * 


GEORGE INNESS , a. 4. 
Pool in the Woods |‘ 


The poetry of an autumnal wood interior is well rendered in this 
picture, which represents the tangle and heavy growth of undisturbed 
nature. Mysterious and vague, the tree forms and foliage gradually dis- 
appear in the distance, until they become masses of pale, purple grays. 
The yellow leaves in the foreground tell against the blues and other 
tender tints of the cool shadows, while floating on the winding stream 
is a boat-load of idlers. A sycamore tree is seen near the centre, 
behind which is a burst of brilliant sunlight. 


Signed at the right. Dated, 1872, Height, 22 inches ; length, 27 inches. 
ths 
“a 1907 hak 
ei ees Seely ‘i 
4 A. H. WYANT aed 
The Mountain Road Ly} i) ' 4 : 


In the foreground, at the left, a rough road crosses a mountain 
ridge. Behind it a vast wilderness of many variations of surface 
stretches away to the horizon. Thesmoke of brush fires here and there, 
mingles with the moist vapors of a gray sky threatening showers. 

_ Signed at the left. Height, 12 inches; length, 16 inches. 


13 


198 © vA ZC pre ees mi 
GEORGE W. MAYNARD © 
Mermaid 


Lying dreaming on the crest of a wave, one of the fabled beauties of 
sea lore drifts aimlessly with wind and tide. The legendary tail is grace- 
fully curved, the supple form is only half concealed by the green 
waters, and the head is thrown back on the arm. Waves about her 
comb over, reflecting the turquoise of the sky, and the effect is of 
a lovely summer day. With the mermaid as the object of chief interest, 
the ocean forms are not less delightfully expressed than those of the 
woman. The conception is original and the execution spirited. 

Signed at the right. Height, 16 inches ; length, 20 inches. 


GEORGE INNESS 


Moonlight 


With a dark sky, and the moon shining in its full strength, the artist 
has, nevertheless, secured in his tree forms a fine sense of atmosphere 
and mysterious vagueness. One rather feels the masses than sees 
them—the highest sort of art, by the way ; for with a fine display of 
reserve power, there is suggestion rather than reality, and the abstract 
is always more fascinating than the concrete in pictorial work. The 
picture, though low in key, shows no traces of black. 

Signed at the right. Dated, 1890. Height, 22 inches; length, 36 inches, 


200 
j. G. TYLER ee 


First American Shipwreck 


A curiously ancient craft, battered and beaten by the gales, drifts 
helplessly in the trough of the sea. Her mainmast has carried away and 
her foremast is a wreck. The gaudily painted stern, carved fantasti- 
cally, and her high sides, form a good mark for the breaking waves. The 
rigging is all a-tangle, and one fanciful colored sail still holds. The 
crew is in a commotion on the deck, while the sea piles up and breaks 
over the ship. Above is a lowering sky kept simple to give prominence 
to the disaster that is taking place. 

Signed at the right. Height, 17 inches; length, 24 inches. 


vi 199 AK. dof ebieetise ass 


| Le Meller x 


AK, LS £902 Cry 


201 
HOMER MARTIN Vea 
Headwaters of the Hudson /¢* 


Out of its mountain fastnesses, the great stream breaks its way, making 
a silvery gleam amid the glowing richness of the frost-touched wilder- 
ness. The mountain ranges rise behind it, tier on tier, until they lose 
their loftiest outlines in the clouds already heavy with portents of winter 
blasts and torrents. Through the clouds which part sullenly, as if re- 
luctant to give passage to its genial warmth, the sunlight makes fitful 
gleams on the escarpments of the hills. The shadows of the sky lie 
darkly on the foreground, which is a broken country diversified with 
timber. The redeeming trait of a wild and savage scene is suggested 
by the artist in the thread of water, emerging from its stony cradle spot, 
to enter on its long and beneficent journey toward the haunts of men, 

Signed at the right, Dated, 1869, Height, zo inches; length, 32 inches, 


202 
BRUCE CRANE 
The Water Gate 


In the valley of the Brandywine, in Pennsylvania, the artist has 
chosen a sunny day to paint an old Dutch mill. The afternoon light 
illuminates the whitewashed side of the house, and the landscape is en- 
riched with warm color. 


Signed and dated, 1898. Height, 18 inches ; width, 16 inches. 


203 


. WINSLOW HOMER 


DB. 4, Leev es Rise to a Fly 


(Water Color) 


A splendid sunfish, half out of the water, is snapping at a gaudy 
trout fly, regardless of the deadly hook which lurks beneath it. The 
fish is wild with greed. The fisherman sits in a canoe in the back- 
ground, holding the rod whose cast has lured the voracious victim to 
its destruction. 

Signed at the left. Height, z4-inches; length; 20 inches:: 


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204 A Ketter, 
THOMAS W. WOOD * 
His Own Doctor a 


The patient is an aged negro, who, to judge by his forlorn aspect, has | 
a serious case to grapple with. He has risen from his rocking-chair to 
prepare a prescription for himself. A bandage swathes his jaws, and 
a bedquilt is carefully pinned at his throat so that he may be protected 
from the insidious and malignant influence of a draught of air, while 
he is undergoing the operations of those remedies prepared according 
to the pharmacopceia. The scene is an interior with characteristic 
surroundings. 


Signed at the left. Dated, 1878. Height, 20 inches; length, 14 inches, 


205 

R. A. BLAKELOCK “4+ PL. PGE Cb cere | 

bad i 

Entrance of the Forest ) 

From a rocky dell, through which a stream trickles, there opens up 

a vista of woodland brilliant in the late afternoon sun. A yellow bril- 


liancy of distance enhances the depth of the foreground, and the warm 
glow of the sky is admirable in tone. 


Signed. Height, 16 inches; length, 24 inches, 


206, Pf, Al. Feces? = oral 


WILLIAM T. SMEDLEY ah 
Sight Seeing 
(Black and White) 
An old man and woman, country folk, stand gazing aimlessly about. 


The poses are characteristic. The woman holds an umbrella and ret- 
icule. The man clasps his hands behind his back. 


Signed at the left. Dated, 1894. Height, 18 inches; length, 11% inches. 


207 


a I Wetter. 
i ‘WILLIAM M. CHASE 


A Stone Yard : | | / 4 0. 


A picturesque corner of the Brooklyn Navy Yard, vividly realistic in ~~ 
its open-air effect. 


Signed. . Height, 7 inches ; length, ro inches, 


208 


7, SS, M8 etev te’ 
ome oe GEORGE W. BRENNEMAN 


Ss af i My, nth a ip rd ite ; ie? y : 
Relics | 4 ar Ql if, & ° } b ‘oh 
; t ; i 
ie eb. ON Apow Bs: a 
A venerable antiquary, himself a relic of almost as remote a past as 
some of the objects before him, is examining the treasured curiosities 


of his collection. 


Signed at the upper right. Height, 7% inches; length, 10% inches. 


209 


SAMUEL COLMAN 
AEM NL ag 


Valley in Mexico 


Great hills rise up to tall peaks from the meadow lands of a valley, in 
which is seen a great architectural pile, enclosed with walls. It is partly 
lit by the sun, which gilds the yellow grasses of the flat lands which 
border the river. A boat and barge float on the stream. The fore- 
ground is in deep shadow. There are some trees in the right centre, 
and the sky is broken by alternate light and shade of brilliant southern 
tints. 


Signed at the right. Height, ro inches; length, 18 inches. 


wh apie 
ee 
a # i 
. , vi 270) 9 ep «Oe CHR ESerzc e729 
é Pa, Br ag < ae ee a 
fae 
7 o] | WINSLOW HOMER 


To the Rescue 


Pe 
mu A life saving station man is rushing across the beach with a coil of 
nt rope, about to toss it to some unfortunate. Breaking on the shore, a 
| great crashing wave throws up a mass of spray which wets two women 
who watch the scene. Behind the foaming wateris a leaden sky. The 
composition gives a forceful impression of the terrific forces of nature, 
and is admirably painted. 


Signed at the left. Height, 24 inches ; length, 32 inches. 
i 7 * . 4 
2I1 a 
r % ' Se% tvé £4 


” “GEORGE INNESS 
Old Homestead—Medfield 


% Characteristically American, the scene here represents a group of 
Higuk . () farm buildings with rigid, insistent lines of architecture, not without 
| 0) Wj picturesqueness. All those in the middle distance are lit with a warm 
‘ | glow, while a mass of shadow covers the foreground, where some cat- 


tle graze. A group of trees is seen on the left, through which glimpses 
of sky are visible. 


Signed at the right. Dated, 1866. Height, 22 inches ; length, 30 inches. 
| 
212 = | 
" %, a * te 
~~ mi 1 
LOUIS MOELLER »-4 102 ep ry | 
Hello! Y 
t oy 

i f\ iF, The omnipresent telephone makes its way into art in this composi- 

| WV tion, which represents the business man in his office with his face to the 

. instrument. The surroundings pertain to business life—a desk, a safe, 


the chairs, and all the accompaniments of the office are here, and the 
man is intent on his conversation. His pose is characteristic as he 
leans forward listening. It is one of the artist’s most truthful studies, 
wherein a hundred objects are admirably rendered. 


Signed at the right. Height, 16 inches ; length, 12 inches. 


¥S s eta 5 ARN | Ry ae 


Ny 


I IE EE EE ee 
“ <i 


WILLIAM M. CHASE 
Prospect Park 


A portion of one of the terraces and steps of the beautiful Brooklyn 
park, under a midsummer effect of sunlight, rendered with great skill 
in painting and much truth of observation. 

Signed, Height, 7 inches; length, ro inches, 


214 


oft weeclec 
S CHARLES C. CURRAN 


Wading in the Lily Pond 


Two country girls are seen in a pond, amid a growth of majestic lilies 
that rear their heads above the tideless pool. One, at the right, is about 
to reach for a lily which she approaches, feeling her way along the bot- 
tom of the pond with cautious steps. At the left the second girl smells 
a flower which she has just plucked. The suggested ‘movement of 
these figures is extremely forcible Reeds and dense shrubbery give 
the scene a background suggestive of seclusion. 

Signed at the right. ‘Dated, 1890, Height, r2 inches; length, 20 inches. 


57 WPT | ato 
WILLIAM H. BEARD 


Eavesdropper 


Through a window the interior of a tavern is seen. Pothouse poli- 
ticians are arguing fiercely within, and at the window one, who has 
been dining with a friend, leans over the table to impart a weighty 
secret to his companion with drunken gravity. All the characters 
represented are monkeys, but in human attire, and with human action. 
Clinging to the pent-house roof over the window a monkey, who might 
be a mischievous boy, is listening to the conversation, and spying out 
the secrets of the two at the window. 

Signed at the right. Dated, 1878. Height, 15 inches ; length, 12 inches. 


POE EI ART ARE OT at Tp aii ap Cag pnp Ema es ae 


are pm de 


ase ceaeT ania ES 


216 . 7K, LO OCP CLINE: : 
HOMER MARTIN (saan | 
Wild Cherry Trees 


A beautiful bit of virile landscape painting, refined in color and in- 


dividual in style and treatment. 


Signed. 


Among the haystacks, some of which have been pulled down for 
fodder, the barnyard fowl rove in quest of food, while a cow, bedded 
in fragrant comfort under a half-demolished rick, chews her cud in 
At the right a stalwart farm-hand, clad in blue 
homespun, with heavy boots and a felt cap, crosses the yard bearing a 
Truth of detail and fidelity to nature show 
this picture to be an actual study of the scene, made upon the spot. 


placid contentment. 


pitchfork on his shoulder. 


Signed at the right. 


The last flush of the day has faded from the sky, which still preserves 
This light, too feeble to communicate 
any illumination, leaves the moorland in deep shadow, which creeps 
Only the chill waters of a little rill at 
the left relieve the shadowy foreground by a faint reflection of the 
darkening zenith, and spare the lonely scene a sense of gloom. 


a remnant of lingering light. 


across it like a sombre mist. 


Signed. 


Dated, 1891, 


Height, 7 inches; length, 8 inches. 


217 PV .O DVhee lee vork 
CHARLES C. CURRAN | 
A Happy Family 


218 Cellier Xo" 
CHARLES H. DAVIS 


Nightfall 


Height, 12 inches ; length, 18 inches, 


Height, 9 inches; length, 12 inches. 


a 


FREDERICK A. BRIDGMAN 
The Cadi’s Escort at Rest 


_ Two Arab cavaliers squat on the pavement of a courtyard waiting 
for their master to complete his business within. One holds a horse by 
the bridle. The sirocco is blowing, and their white burnouses flutter in 
the wind. A strong expression of the brilliancy of tropical sunlight and 
the movement of the breeze. 

Signed at the left, Dated, 1881. Height, 14 inches; length, 2z inches. 


220 


C.d. Free? winstow HOMER 


Rowing Homeward 
(Water Color) 


Under an evening sky in which is seen a red sun, ruddy in the purple 
mist, some sailors are rowing a boat, while one man steers. The water 
reflects the pale greens of the upper sky and is quiet, save for a ripple 
here and there. The sentiment of evening is finely expressed and 
broadly rendered. 

' Signed at the left. Dated, 1890. Height, 13% inches; length, 194 inches, 


221 


SF. Geer, 2-GEORGE INNESS: WW y#/ 
& 5 ‘ ; 


a me, 
Mee Vread f ware 


The Glow \“ ¢& 


Two figures in a field sit among the grasses, their caps illumined by 
flecks of light. The sinking sun takes ona brilliant red, and diffuses its 
rosy light on the landscape. A valuable dark note is made by a small 
tree which appears in silhouette. The difficulties of securing luminosity 
with red pigment are better known to the artist than to the layman, but 
there is no doubt of the success of the results attained here. 

Signed at the right. Dated, 1836. Height, r2 inches; length, 18 inches. 


203 LPS abe 
EDWIN H. BLASHFIELD 
Music 


Seated at the right, on the marble garden seat of an Italian palace 
courtyard, a young girl plays upon a lute. At the left, two figures are 
seen, watching and listening over the high back of the long terrace 
bench. The costumes are of the seventeenth century. The verdure of 
a garden shows in the background over a carved marble wall, and 
beside the musician in the foreground is a large and massive classical 
vase. This beautiful decorative composition was shown at the 
National Academy exhibition in 1882. 

Signed. Height, 19% inches; length, 44 inches, 


223 Dee 
CHARLES MELVILLE DEWEY 
Along the Shore 


The level land extends, at the left, in a waste of salt meadow. tra- 
versed by waterways and diversified by pools. At the right an inlet 
indents the shore, and a road leads along it towards some fishermen’s 
houses which are seen in the middle distance. Boats are on the water, 
whose expanse is varied by distant projecting points and shores. The 
effect is bright and cheerful, in the broad light of a sun high in the 
heavens. 

Signed at the right. Height, 24 inches ; length, 36 inches, 


224 
LEO MOELLER 
A Patriot of Valley Forge 


Leaning on his musket, a young soldier of the Revolution stands 
looking up at the starlit sky. The ground is covered with snow; a 
frozen stream and a hillside covered with underbrush are in the distance. 
Another soldier paces up and down in the background, and there is a 
sentiment of dreariness. ‘The young man has his hands clasped and has 
an expression of devout resolution on his face. 

Signed at the left. Height, 22 inches ; length, 18 inches. 


Cowal Phyto 


225 3 
A. H. WYANT 7y.A2. Cheeee sore 


¥ 
Any Man’s Land | 
With singular force and weird conception, the artist has rendered a A f nei 


wild, bleak stretch of Adirondack country so as to make a veritable 
tragedy of the scene. A dramatic sky, with swirling clouds driven 
hither and yon; astonishing and unexpected effects of sunlight and 
shadow ; everywhere, strangeness and desolation. All these combine to 
produce remarkable results, It is a composition that fascinates and 
lingers in the memory. 


Signed. Height, 18 inches; length, 30 inches, 


7 te: tfrers 


WILLIAM T. DANNAT ye i 
A Smuggler ] Gf i, ; | 
A character study of one of the hardy contrabandists who operate on ' 


the frontier of France and Spain. It is painted with simplicity and de- 
cision of touch, and is excellent in color quality. 


Signed at the upper right. Height, 1314 inches; length, 1o inches. 


< / ‘* a i: # 
al. of, MartrtherVlY gay 
H. A. FERGUSON 7) 
Mt. Lafayette and Franconia Valley o 


Great mountains stretching up to the clouds, purple and violet under 
a brilliant sky, top the teeming valley below full of life and human 
activity. Red farmhouses in full sunlight, a distant village, and a smil- 
ing landscape are all rendered in great detail. To the right a tree 
form is outlined against the delicate tints of the mountain, while rocks 
and long grasses give interest to the foreground. 


Signed at the left. Height, 15 inches; length, 25 inches, 


a * # 7 ag : 7 
ger. | ; 


228 


C. D. GIBSON 
Men Must Work 


A number of lonely women wandering listlessly on the beach, bewail 
the fact that the city holds the sterner sex in its commercial grasp and 
that they are thus deserted. A sketch at the upper right hand corner of 
the drawing shows a clerk at his ledger, and explains the situation. 


Signed at the left centre. Height, 16 inches ; length, 29 inches. 


229 


J. FRANCIS MURPHY: 
AS Di ‘Cb? ut focte. f 
Woods in Autumn 

From a foreground, where bare saplings relieve the stony ground at 
the left, some houses are seen in the middle distance, with rising ground 
behind them. The period is early autumn, and the landscape and sky 


have that cool purity of pearly gray tints which accompanies the season 
of early frosts. 


ar at the left. Height, 16 inches; length, 24 inches. 


af : 2 Sau Oak (2 


) Dans » 230 ee Pg ee alors rk 
WINSLOW HOMER 


Visit to the Mistress 


In a low-toned interior stands a lady, while three negro women are 
talking to her. One of these holds a child, and a third, an old mammy, 
is seated before the fireplace. The artist has depicted the peculiarities 
of the black race, in clothes, movement, and manners. The central 
figure of the darkey by the door is full of expression, and all maintain 
a respectful demeanor before the mistress of the house. 


Signed. Height, 18 inches ; length, 24 inches. 


ro @ > @ Sy « iw e ‘a alo 
tether? 


¢ 231 


a: ep eco nchjeee C 
GEORGE INNESS 


4 p pe 
Twilight Wi § 
a 
The expiring fires of the day are smouldering among cloud banks, 
whose forms have the brooding heaviness of midsummer heat. The 
marshlands, which reach away from the foreground to the horizon, are 
growing dusky with the extending shade. The sluggish waters of the 
winding creek are yet slightly flushed by the reflection of the sky, and 
the leafy bulk of a clump of trees in the middle distance makes a mas- 
sive landmark on the background of crimsoned cloud. In the profound 
and pervading calm, the wild ducks on the water float fearless of intru- 
sion or peril. 


4 Signed at the left. Dated, 1876. Height, 16 inches; length, 24 inches, 


¥ "i 232 
a, SLA CTI CE. el 


Getl- HORACE BONHAM 


The Issue of the Cockpit 


A group of excited men, leaning on a rail or on each other’s shoulders, 
who gaze earnestly below them, occupy the foreground. One does 
not need to be told that some exciting sort of sport is in progress, for 
each face reflects the emotions of its owner. The gentleman, the 
barroom hanger-on, the workman, all sorts and conditions of men— 

’ there are more than a dozen of them, including some negroes—are 
impelled by a common cause, and the issue for the moment is the one 
supreme thing in the world. Every figure is a study; every face is 
carefully analyzed and painted in great detail, and the types show 

remarkable observation. The time is about the middle fifties, per- 
| haps, and the composition is a veritable bit of history of a certain 
| phase of American life, by a painter whose work should be better 
| known. 


Signed at the upper right. Height, 16 inches ; length, 27 inches, 


233 0 0 VCCI FEF EVES 4 
ARTHUR PARTON I 


a 


elie. 


Summer Clouds 


Two figures wend their way over a heath, through a path lined with 
great rocks. A splendidly colored sky, however, is the most striking 
feature of the composition. This is full of luminosity, and conveys an 
idea of great space. 


Signed at the left. Height, 18 inches ; length, 26 inches, 


rt Af. 4 eheleF LET I ¢ 3 
GILBERT GAUL a 


; Wounded—to the Rear 


, 9! ' A night attack is raging on the outer line of battle, where the troops 
£ V - have lain upon their arms. The flash of musketry lights and warms 

4% the cold, pale brightness diffused by the winter moon over the snowy 
earth. A young officer, wounded perhaps to the death, is being assisted 
to the rear by one of his men. The stricken man hangs almost help- 
lessly upon his strong supporter. The soldier, as he drags his com- 
mander’s failing feet along, still clutches his musket and listens to the 
noise of the conflict which is raging behind him, and which he is eager 
to rejoin. Duty and humanity have overcome in him the ardor of battle, 
without depriving it of that fascination to which all soldiers, once they 
have had their baptism of fire, succumb. 


Signed at the right. Height, 18 inches; length, 30 inches, 


235 oe CoP! Poarsler 
\ CARLETON WIGGINS 
\y Ds Harvest Moon 


The moon rises in a sky lightly veiled by the hot haze of summer, 
in which a flush of daylight still reflects itself. In the foreground, 
at the centre and the right, three cows are grouped at rest. In 
the middle distance at the left other cattle graze. The landscape 


yale vl CISC AE! 
re resre 1 


exhibits the close observation and sympathetic skill of the artist in his 
happiest vein, while he displays his power as an animal painter in the 
cattle, which give to the picture a sense of life in keeping with its 
spirit of pastoral poetry. The color is mellow, and the atmospheric 
effect is delicately rendered, 

Signed at the left, Height, 20 inches ; length, 32 inches. 


S aA Srretelee "236 


H. SIDDONS MOWBRAY 
The Last Favorite 


A newcomer has been introduced into the harem. She sits alone, 
embarrassed and uneasy, in the foreground, at the left, while her three 
predecessors criticise her from the divan along the wall which forms the 
background. There is a marked contrast between the gayety and rich- 
ness of their garb and the modesty of her own costume, but it is likely 
that it will not be long before she outdoes them in the richness of her 


finery; 
Signed at the right. Dated, 1886. Height, ro inches; length, 13 inches. 
ee Peaveres: 237 


GEORGE H. SMILLIE 
. Landscape, Easthampton 


In the middle distance are the houses, mills, and barns of a pictur- 
esque Long Island town. Sheep graze in the pastures of the fore- 
ground, and the sea is seen in the distance. The sky is filled with grey 
clouds. The color is agreeable and the execution free and broad. 

Signed at the left. Dated, 1883. Height, 20 inches; length, 26 inches. 


pe Pls 
L. C. TIFFANY 
View on the Hudson 


From a hillside, covered with a luxuriant growth of pine forest, one 
looks down the broad stream, its banks lit by a warm sunlight glow. 
White sails dot the river, while the far distant hills take on a tender 


tint of blue. 
Signed at the left. Height, 7% inches ; length, 16 inches. 


Sy ete er 


4 iv 4 


Ae tl Cea ° ‘FO SEA He ’ 


239 ib 


re 3 t 


ex 


t lp pre? 
ee eens amp- -fire 
Pore hes 


Deep in the wilderness the fisherman has made his camp, near a con- 
venient trout stream. Beneath a storm-uprooted cedar, whose sturdy 
branches support it from falling prone upon the ground, he has built 
his hut of saplings, with open front, walled with bark stripped from the 
trees. Under this shelter his guide lies, sleeping soundly, after a weary 
day, on a bed of aromatic pine needles cut green from their branches, 
The sportsman, relieving his servitor from the watch, sits with his back 
against the improvised cabin. The gloom and loneliness of the place 
and hour have set him thinking, and the face the camp-fire lights is 
serious and pensive. The fire blazes in front of the hut, sending up a 
stream of sparks like fiery serpents, and rolling from its fresh logs the 
smoke that protects the camp from insect pests. All around is the 
mysterious obscurity of the primeval forest, that obscurity and mystery 
which provide the spice of the true sportsman’s life. 


Signed at the right. Height, 24 inches; length, 40 inches, 
® » * 
; mag A, CL Leave SE 
GEORGE INNESS 


‘September Afternoon 


An intense blue sky, banked with clouds, shimmers above a landscape 
rich to repletion with the ripeness of a splendid summer. The opu- 
lent profusion of which nature is susceptible under fortunate condi- 
tions of fertility and weather, here finds full expression. In the fore- 
ground, where natural richness of tint is enhanced by the shadow 
which deepens it, weeds and wild flowers make a play of varied color. 
The trees in the middle distance are sumptuous in their full dress of fo- 
liage. At the right, a flash of sunlight on a white house wall deepens 
and intensifies the color effect. Like the music of an organ, the scene 
makes a vast and powerful harmony, and out of its imperial magnificence 
of construction and completion, communicates the sensuous luxury of 
the season it typifies as by a necromantic spell. 


Signed atthe right. Dated, 1887. Height, 36 inches; length, 24 inches. 


WINSLOW HOMER 
o | a je 


: 


A £ : P A * 241 oy 
A es7on enpy R. POORE 


Baying Hounds 


A pack of hounds have lost the scent of their quarry at the crossing 
of a water course in marshy ground. After the manner of their kind 
they signify the interruption to their chase with uplifted heads and 
eloquent throats. The dogs are shown at nearly full length, and are 
close and characteristic studies of living originals. Each has a distinct 
individuality, and is a spirited type of its kind. This picture received 
the second Hallgarten prize at the National Academy of Design in 1888. 

Signed at the right. Height, 30 inches; length, 33 inches, 


2 PD. ec Bi 
4 ce 
Y odterree W. L. SONNTAG 


A Sunlit Valley 


A great pond in the foreground of this picture leads up to a bank, 
on the left of which is a group of trees. Rocks loom up from a field to 
the right, and the distance ends in a high sky line. Cattle graze in the 
fields ; a man is at a nearby fence, and clouds are reflected in the water. 

Signed at the left. Dated, 1884. Height, 16 inches; length, 24 inches. 


thre pe SetcFeer Se & _ 243 
FRANCIS MILLER 
A Local Freight Caboose 


It is the custom, on certain local trains on Western railroads, to pro- 
vide passenger transit on freight trains, by allowing the use of the 
rough caboose car to such travellers as may have occasion to pass from 
one station to another, and are willing or compelled to accept this rude 
form of conveyance. ‘The local freight caboose is the parlor car of the 
rural poor, and comes as near to the third class carriage of European 
roads as our railway systems know. The artist shows us the interior 
of one of these conveyances. Independent of its interest as an episode 
of American life, the picture represents an ingenious and original 
mind on the part of the painter, and is executed with a technical 
excellence of a high order. 


we 


Signed. Height, 18 inches ; length, 26 inches, 
14 


| raf Pf Autumn Tints at Tenafly 
ot ee, 
ij " A cedar tree, deep and rich in its greens, is overrun by brilliant red 


Yt strain upon a pipe. A white peacock stands in the grass-bed in the fore- 


244 a) Sine ao 
D'- R. A. BLAKELOCK 
ni Moonlight 


The moon is up over a quiet sea ; its reflections, shimmering over the 
water, are broken by a pile of rocks. A cloud flits across the sky, and 
the rich color for which the painter is noted is apparent throughout the 
work, which is full of feeling. 


Signed at the right, Height, 8 inches ; length, 6 inches. 


245 Ase i ae 
GEORGE INNESS. 


clematis. Both appear against a sombre blue sky, full of depth, and 
diversified by a few white clouds. The work is in the nature of an 
impression, and is powerfully suggested. 


Signed at the right, Dated, 1880, Height, 14 inches; length, r2 inches, 


246 
THOMAS W. DEWING C,. &,. Yeassna 


“ A Garden 


a f’ 
fos “al A marble garden bench crosses the canvas. Seated upon it, at the left, 


tind a young woman in a flowered robe touches the strings of alyre. Re- 
clining at full length on the bench at the right, another blows a drowsy 


ground, in which some poppies and melons grow, and the upper por- 
tions of the sails of vessels show over the top of the garden seat. A 
languorous and listless atmosphere pervades the scene, in keeping with 
the lassitude of attitude and expression in the figures. 


Signed at the left. Dated, 1883. Height, 16 inches; length, 24 inches, 


247 


Ra Show “\° WALTER CLARK ee 


Sunset 


A golden sunset is fading out in the sky. A slumbrous haze rests 
over the landscape, reducing its details to large and effective masses. 
The foreground shows, in the dim light, a grassy bank rising towards 
the left from a pool of water. The middle ground is occupied by trees. 


Signed at the right. Dated, 1888. Height, 30 inches; length, 45 inches. 


248 


ee VN Kase. WILLIAM M. CHASE 


m 


< 


« 


Girl in Costume 


A picture of the head and shoulders of a young girl in Japanese 
dress. The face is full of a tender expression as it looks directly out 
of the canvas. The flesh tones are harmonious, and the modelling is sim- 
ple yet effective. 


Signed at the upper left. Height, 15% inches; length, 24 inches, 


he 
yon YiQusery 249 
meow CMR OTL 
In the Tropics 


One of the favorite compositions of this artist, the scene here is of a 
distant snow-clad peak of a South American mountain, which rises up 
with stately form and is caught by the sunlight. The color changes 
lower down the mountain as the clouds which cross it send a turquoise 
reflection. Below it lies a lake, and through the centre is a gorge 
with rocks covered with verdure on either side. The sky is beginning 
to take on twilight tones, and there are glints of sunlight here and there. 


Signed at the upper left. Height, 12 inches; length, 18 inches. 


So, 


Q 
= 


\ 


SP SCREEN IL OIE OT 


a 


| re : 250 Wan 0.9. isheanen 


é) ; GEORGE INNESS 


New England Valley 


A great stretch of country is depicted in this composition, the varied 
phases of which are very interesting. From an eminence where a figure 
walks, to the left, are successive fields with cattle, woodland, farm- 
houses, and a bold promontory. There is a windy sky with piled up 
clouds, and the landscape is partly in sunlight and partly in shadow. 
A yellow tree is seen on the left, and the season is the early autumn 
when the leaves are just beginning to turn. | 


Signed atthe left. Dated, 1878, Height, 30 inches ; length, 45 inches, 


PS 


‘ , 
: | 25% MM, H. pee ig Aya 4 
| CHARLES F. ULRICH 
x : ys 
a - The Glassblowers 

id ih 1] lL» Seated along each side of a long table, a double row of workmen 
n.’ é manipulate their vitreous material into various shapes at the flame of 

i ew) miniature gas furnaces. Their faces are illumined by the conflicting 


lights of the gas jets and of an unseen window, and the contrast of rich 3 
and cool color is finely expressed. The mechanical accessories of the 
craft are rendered with the utmost fidelity, and each figure presents a 
distinct and individual character. The color is powerful, rich, and har- 
My a monious, and the execution, while carried to a high degree of finish, is 
\F A so admirably subordinated to the higher pictorial quality of the subject, 
\ that the suggestion of breadth and simplicity in the totality of the picture 
is not impaired. The artist painted this picture from the actual scene 
\ in New York city. It was first exhibited at the National Academy of 
% C\ Design in 1883, and was shown at the Salon of 1885, evoking flattering 

\ notices from the Paris art critics. 


X Signed at the upper right. Dated, 1883. 
, . Height, 18 inches ; length, 23 inches, 


KH 44 a) @ Ww 2,, 252 
D. W. TRYON 
Autumn > 


The spectator looks across a fallow field, and over trees to a blue dis- 
tance. To the right, a group of young oaks and saplings have taken 
on dark rich reds ; to the left, bare branches are softly outlined against 
the sky, bits of autumn foliage here and there making vibrant notes. 
The arrangement is graceful, and is heightened by a brilliant burst of 
light along the horizon, breaking out from a leaden sky. This streak 
of yellow light runs along the entire length of the composition. Some 
rocks are seen here and there, with long grasses and weeds. All is 
sober and toneful, and the color is agreeably subdued, 


Signed at the right, Height, 20 inches; length, 30 inches. 
; 253 
GWeANG: £. Cc TARBELL 
Amethyst 


The curious lighting of this study is most interesting. With the face 
in shadow, the neck, shoulders, and side of the head are bathed in a 
warm illumination from a light placed behind the figure. The young 
woman has her head inclined forward, her hands on her breast, and 
wears a white dress with a touch here and there of darker tints. 


Signed at the left, Height, 18 inches; length, 24 inches. 
SEAS «si — 254 
» Se WOAG WILLIAM A. COFFIN 
Choppy Sea 


The water is tinged with yellow, somewhat as it is in the English Chan- 
nel in the shallow places, and the waves inshore are made short and 
choppy by the fitful, gusty winds. Off in the distance there is a point 
of land, with its sandy beach lit up by the sunshine which breaks through 
the clouds, and a rift in the sky shows a patch of blue. 

Signed attheright. . Height, 14 inches; length, 14 inches. 


ihe 255 
se Lov : 


* 


th 


iro” a 
fe A 


Corner in a Barnyard 


; Leaning over the rails of a barnyard, a man is looking at a horse, 
| which is under a straw-thatched shelter roof. In the yard are some 
chickens and a calf. A typical American country scene. 


Signed at the left, Height, 9 inches; length, z2 inches. 


1 G. bene 


' 8 NM. Srey ther 


H. W. RANGER 


© 


a For 
ain ee” orenoon 


yy In a grayish atmosphere of half sunlight a little farmhouse is 
ensconced among some delicately drawn trees. Its bright note of red 
is harmoniously blended with the landscape tones, and the distance is 
tenderly felt. In the foreground are some long grasses coming up from 
; a little pool which has gathered from a small stream flowing from the 
be left. It is an atmospheric achievement of delicate and sensitive beauty 
that is unusually successful. 


Signed at the left. Dated, 1892. Height, 12 inches ; length, 16 inches. 


25” mS S 72s ecg: 


. @ 


: en ee aft é é 
\ ¢ Absorbed 3 }¥ fpf Oe, | f 
t | he 


An old gentleman is engaged in the solution of a problem at chess. 
His entire attention is engaged by the task. 


Signed at the upper left. Height, 6 inches; length, 8 inches. 


£) RICHARD CREIFELDS | ,/* 


q 


Hef. Becke 258 
ELLIOTT DAINGERFIELD 
Moonlight 


Here is a cabin in a morass on a moonlight night, wherein the full 
moon makes a brilliant spot in the sky. A big cauldron is burning on 
the left and on the right a man climbs toa bird-cot. Everything is kept 
low in key. 


Signed at the right. Height, 20 inches ; length, 30 inches. 


259 
LZ tester F. DIELMAN 
7 | Puritan Wedding 


A young man and woman, the former clad in the sober gray costume 
of the period, the latter in white satin, stand together plighting their 
troth. He holds her hand and looks fearlessly to the front. Her 
modest glance is to one side. There is a nice harmony of color, for the 
two figures and the background are in simple tones of gray and brown. 
To the left is the edge of a window ; to the right, on the table, is a piece 


of faience. 
Signed at the right. Height, 24 inches ; length, 40 inches. 
: 260 ® 
Herc » OEE e S78 tgp 


GEORGE INNESS gant wth sit ol Se ( 
\Gray, Lowery Day { "et 


. It is a rainy day in midsummer. Clouds, swollen with moisture, 
obscure the sky. In the humid air, the motionless landscape awaits the 
fusillade of the next shower. The whole scene is saturated with moisture, 
from the gray heavens to the land, cut up by water courses, on whose q 
banks dense thickets, make verdant walls. The oppressive sultriness ; 
that accompanies these days when lowering storms suffocate the breeze, 
broods in the painted canvas with a power that communicates itself to 
the senses through the eye. The composition is in large masses, admir- 
ably balanced, and is of a simple but powerful organic form. 

Signed. Dated, 1877. Height, 16 inches; length, 24 inches. 


ve wd. PELE 


. 261 © 
x 


i— THOMAS SULLY 
aot Pal Portrait of a Man 
: . ‘ PA A luminous head of a man of thirty, with sandy hair, brushed in with 
eo certainty and directness. A blue coat with brass buttons, an old-fash- 


ioned high stock and collar, compose the costume. Time has mellowed ~ 
the tones, and given richness to the quality of the color. 


Signed at upper left with the initials ‘‘ T. S.” 
Height, 19% inches; length, 1334 inches, 


Pe ar a ; 


> eee: PBI? 8: reer eu ’ 


ig SAMUEL WALDO 
ae 
an ale Portrait of a Lady 
if Y Ae 
: 2 This interesting and well-painted head of a woman seems to have 


been put on canvas only yesterday, so fresh is the color and so brilliant is 
i the tone. The face, turned almost directly to the spectator, is some- 
/ what florid, and is beautifully modelled. About the neck is a ruff, and 
the dress is black. The flesh tones are very luminous. 


Height, 20 inches ; length, 16 inches, 


263 @7, & Die ree. rece 
&- 


A HENRY G. DEARTH 
4 Fa i 4 
en, Evening : 
a % me 

: 1 In the mystic glimmer of the lingering twilight, the landscape is seen 

"gs Oe \ as through a veil. Across a broad plain in the foreground, the eye 

an travels to a gap in the hills, in which a flash of firelight makes a spot 


of brightness. At the left a farmhouse is visible, and the moon is ris- 
ing dim and feeble of radiance, in a clouded and hazy sky. 


Signed at the right. Height, 24 inches; length, 45 inches. 


At.C:, Ae ern idor erg, | RO: ! 
CARLTON T. CHAPMAN wee 
The Lighthouse " 


The scene is a ledge of rocks, whereon stands a lighthouse. The time 
is night, and the powerful illumination of the signal throws its bril- 
liancy over the waters. The breaking waves catch the reflections, and 
on the sea, which stretches out in the distance, a ship looms up faintly. 


Signed at the left. Height, 14 inches; length, 22 inches. 
J) KRoeketreéll ec, - 265 | 
EASTMAN JOHNSON (> “a, 
The Pension Agent 5 : 


The scene is in a farmhouse, in the humble room which serves at once 
for kitchen, family meeting place, and bedroom for the crippled son, 
whose bed is seen on the right, with his musket and other military 
equipments hanging over it on the wall. The pension agent sits at the “> 
window in the centre. At the left are the father and the mother of the 9 9 | ~ 
mutilated soldier, who himself stands on the right, supported on a ‘a a 
crutch, detailing to the agent the circumstances by which he received 
his injury. The old house dog watches him as he speaks. His young 
sister, pausing in her work of apple paring, listens with a pained and 
awe-stricken face; and even the poor serving woman of the farm 
turns her head from the duties of the moment, to hear again the story 
of her young master’s sacrifice of himself upon the altar of his country. 
It was by this at once touching, dramatic, and thoroughly national com- 
position that the artist scored one of the signal triumphs of his career. 
From the George I. Seney sale. 

Signed attheright. Dated, 1867. Height, 24 inches ; length, 36 inches, 


yy 


AS, Sere t lheers 266 f) 70 
GEORGE INNESS ay / 
Harvest Moon 


The time is early evening, and in a dark but rich-toned sky the 
green-yellow moon is just above the horizon. Upon astretch of meadow 
land it sheds a warm glow, which catches the grasses and softly dif- 


i 


ty fuses its light over all. A group of farmhouses is seen on the left, 
\s while on the right some stately elms rise above the other tree growth 
p Vy and are silhouetted against the sky. In the foreground is a pool, which 
‘‘ fo reflects the pale green blues of the heavens. Thin films of smoke are 
L 7 wafted from the chimneys of the houses, indicating that the fires are 
lighted for the evening meal. The figure of a woman is introduced in 
the foreground, and in the distance the yellow light of the moon illu- 
mines the hills and far away houses. The hush of evening falls upon 
the world, and the aspect of the landscape suggests repose and quietude. 
Signed at the left. Dated, 1801. Height, 30 inches ; length, 45 inches. 


267 


DOCS uareatiaern ‘ & 
Puzzled eS LOZ 


An aged professor, who has been grappling with some abstruse 
geographical problem, pauses in his work at a loss for a solution, 
Upon the floor at his feet is the ancient book of voyages whose ro- 
mantic statements he has been endeavoring to reconcile with the fixed 

.facts of the modern terrestrial globe. He holds the calipers with 
which he has been measuring in one hand, and passes the other 
through his long and bushy hair. The expression of his face is that of 
perfectly helpless indecision. The picture is rich in detail of the most 
accurate execution, which does not, however, detract from its breadth of 
effect. It is one of the master works of this well-known artist. 


Signed at the right. Height, 16 inches; length, 12 inches. 


\W “LEONARD OCHTMAN —.-4¢% aillare 
Le Moonlight Shadows 


3 At the left, in the middle distance, a group of buildings i is massively 
, ee a defined against the sky. On the right the wall of a house is seen ~— ? 
. \ a™ through trees. A road winds out of the foreground across a turfy plain 
mid into the distance. The moon is behind the spectator, and the light falls 
softly on the landscape. Stars are twinkling in the sky, and a gleam 
of yellow lamplight in one of the house windows makes a minor note, 
contrasting with the pale, silvery sheen. 
Signed at the left. Height, 24 inches; length, 36 inches. 


ee ee ee 


a. or 


Leenre were y Sabo 


/ 
WINSLOW HOMER f 
Perils of the Sea 
(Water Color) 
eects pein toe 


The entire community of a coast settlement has turned out to watch a 
wreck off shore. On a pier in the foreground two women stand in 
attitudes expressive of intense and anxious attention. Below the pier, 
on the beach, many figures crowd, with all eyes bent upon the raging 
of the wintry surf. At the left a part of a summer cottage is seen. 

Signed atthe right. Dated, 1881, Height, 14 inches; length, 20 inches, 


270 
JOHN LA FARGE 


Autumn 


1 eet ea 


Two stately tree trunks stand boldly out from a grove. Slender 
branches are vaguely seen in the distance, covered with a delicate 
green that has already felt the touch of frost. A stream is indistinctly 
shown, with some blue hills far away. There is a warm, yellow, 
Indian summer sky, and a feeling of haziness over all. The note is 
just, and the sentiment of the season is admirably suggested. 


Signed, Height, 9 inches ; length, 13 inches. 
271 
Za MMi top » RICHARD PAULI 
’. Harvesting 


Across a field filled with shocks of grain, farmhouses and outbuild- 
ings are seen in the distance, silhouetted against the gray sky. A 
few poplars stand out prominently, and piled-up clouds are broken here 
and there with a burst of sunlight, which makes a strong note of bril- 
liancy in the centre of the upper part of the composition. This sunlight 
illumines the stubble in the middle foreground, the immediate fore- 
ground being in shadow. The scene is characteristically rural, and is 
expressed with rare sympathy and truth. 

Signed at the right. Height, 32 inches; length, 48 inches. 


272 Pi A Beh 272 ChFC 
J. G. BROWN 
@f Watching the Train 


A familiar episode, seen almost every day from a car window, is 
represented here in Mr. Brown’s inimitable manner. Seven children, 
perched upon a rail fence, are looking at the passing train. The ex- 
pressions are characteristic—a smile here, a serious face there—the child 
mind being carefully reflected. The sun glints their faces or lights 
their hair and dress, and the attitudes in their naturalness outdo the 
snap shot of the camera. Behind is a red farmhouse with trees. The 
composition is well balanced. 


Signed at the right. Dated, 188r. Height, 28 inches; length, 44 inches. 


\ ‘ 


273 posi oh ha 
. D. W. TRYON he Freer 


Winter Evening 


ee Cold and bleak, a snow-covered field lies under a gray evening sky, 
~~ M enlivened only by the yellow light of the setting sun. A forest on the 
right, denuded of its leaves, lets some of the light filter through the 
‘branches, and on the horizon may be seen a line of dark hills. A fine 
quality of atmosphere characterizes the landscape, and the sky, with its 
well-composed masses, is agreeable in color and fine in effect. 

Signed at the left, Height, 20 inches; length, 32 inches. 


274 
| GEORGE FULLER 
i ate A Romany Girl 


di 


o Aetel VOSS 


This charming figure is seen in half-length, looking out of the can- 
i \ : vas, with her body turned towards the right. Her olive-tinted face, 
\y framed with long locks of raven hair, exhibits an expression of suddenly 
G3 aroused interest. She wears a rustic hat, decorated with a spray of wild 
flowers, and the waist and sleeves of a garment of coarse linen show 
above her bodice. The dim vista of a shadowy forest provides a back- 
ground for her figure. 
Signed at the right. Height, 28 inches; length, 24 inches. 


THOMAS, ALLEN ,/ @, 
Maplehurst at Noon ij he 


A New England pastoral landscape is seen in the glow of midsum- 
mer. The luxuriant vegetation is in its full richness of verdant leafage, 
and a herd of Jersey cattle seek shelter from the oppressive heat of 
midday in the grateful shade of a meadow grove. The landscape is a 
delightful study of greens, extremely realistic in character, yet full of 
the poetry of nature. This picture was shown in the National Academy 
of Design in 1879, and attracted great attention. 

Signed, Height, 29 inches; length, 42 inches, 


® 


i 270 
FORGE INNESS | / 


The Clouded Sun Pi aiete 


A trang wil scene expressed with deep poetic sentiment. A valley 
Stretches off to low, distant hills, and from the foreground a stone 
wall runs towards a farmhouse. On the right are several trees and 
outbuildings with some cattle, and on the left are a few houses. A 
| figure of a woman is vaguely indicated, and some crows are dotted in to 
| the right. The color is in subdued yellows, very beautiful in tint and 
: very subtle in gradations. Pale sunshine is spread over the middle 
distance, where a river is seen winding its way through the country, and 
soft enveloping atmosphere gives subtle delicacy to the composition. 
. Signed at the right. Dated, 1891. Height, 30 inches; length, 45 inches, 


« i ) 


. Cetr*re2 evee 
cet Fel 


~, 277 
NL _ ig ee 
6 Re “WINSLOW HOMER 


The Gale 


The figure of a fisherwoman standing firmly planted on the rocks is 
silhouetted against a dreary black sky. At her feet the sea breaks 
and is churned up ina great mass of foam through which, in places, 
the tops of the rocks are seen in naked ruggedness. Enormous billows 


i 7 
a hl ho 
i £ | Ae : na ne : 

i = det ‘aie, r & WY 2 

yas | «pile themselves up, and the force of the storm is further seen in the 
| "swirl of the woman’s garments as they are tossed about. The composi- 
tion is quite unique ; the arrangement of light and shade unusual, while 
the whole conception is of remarkable power and interest. This picture 


received a medal at the World’s Fair in 1893. © 


i ae 


™ 
a i 3 


Signed at theright. Dated. Height, 32 inches ; length, 48 inches, 


278 


H. BOLTON JONES 


eee frie 
Fe Springtime LP OLET CTF biel “a 


From a marshy meadow, where one looks across a level stretch of y 
fields, there is seen a row of trees, tender and delicate in their dainty — ; 
greens, The foliage is not yet dense enough to conceal their structure, 
which is well expressed and drawn with understanding. A line of blue 
hills is faintly seen in the distance. In the foreground, tail, yellow. 
reeds catch the sunlight, and the wild cabbage is brilliant in its greens. 

The details are given with fidelity to nature while the general effect is 
broad and satisfying. White, flecky clouds, in a pale blue sky, are in 
harmony with the atmospheric conditions of the vernal season. 


Signed.} Height, 36 inches; length, 64 inches, 


ZZ a, bie 
19 Cl areccs care C477 
WILLIAM (Ls PICKNELD lavedle 


"al 
gre, 
tear 8 The Road to Concarneau 
14 U 
Oh is A broad, white road bakes in the sun, in its straight course over one 
4 % & ” * 
By of those spacious Breton plains whose scattering and stunted vegetation 8» «,—s« 


indicates the proximity of the sea. A peasant drives a cart along in the 
direction of the town. The heat of the earth responds to that of the 
sky, both burning in the fervor of midsummer noon. The blue sky is 
remarkably luminous and atmospheric. This picture won for the artist 
his first recognition at the Salon—an Honorable Mention in the year 
1880, and was highly praised by the Paris press. 


Signed at the right. Dated, 1880. Height, 40 inches; length, 80 inches. 


yea 


ES. 


Pow ONIGHTS SALE 


FRIDAY, FEBRUARY 17, 1899, AT 8 O'CLOCK 


AT CHICKERING HALL 


280 / 


2S 7 JOSEPH DECKER 
A Bachelor 


Seated on his hind legs in a solitary corner of a woodland, a little 
squirrel munches a nut selected from a goodly store scattered about 
the ground. Evidences of a feast are about him, in broken shells cast 
aside. Hedoes not seem to mind his loneliness, and his bright eye is 
alert for any danger. ‘The painting of both animal and still-life is very 


cleverly executed, and the harmony of color is well preserved. The 


scheme is in grays and browns. 
Signed at the right. Height, 14 inches; length, 2x inches. 


LOUIS MOELLER ge 


pu 1 
% ons 


Connoisseurs 4. 
Two men, one of them with a print in his hands, are seated before a 
picture. A pile of engravings is thrown carelessly on the floor on the 
left, while at the right on the mantel is a statue and some bric-a-brac. 
A bookcase, a table, and a screen compose the rest of the furniture. 
The attitudes of the men are natural and easy ; the intense look of 
interest, scarcely seen in the faces, is made evident in the poses, and, 
it is hardly necessary to add, no detail has been slighted. 
Signed at the right. Height, 8 inches; length, ro inches. 


pet Mf, iAeviovecece 


281 wofrs Ce Sek Me gb eC 


* 


> 


282 «/w sy Besser 
: | 


LEONARD OCHTMAN 


C@ © * 


October 


The interior of a forest, with the trees splendid in their crimson 
autumn vestment, and the ground tapestried with fallen leaves. 


Signed at the left. Dated, 1889. Height, 12 inches ; length, 16 inches, 
283 . 
ie Oe ARTHUR PARTON €¢. &.. em 
"h Passing Shower 


A shallow stream, which occupies the foreground, is darkened by the 
shadow of the clouds shifting across the sky. The landscape on the : 
farther shore is brightened by sunlight at the right, and loses itself in 
shade at the left, where the shower is passing away. The midsummer 
tints are warm and rich. 


4 


Signed at the right. Height, 18 inches; length, 30 inches. 
284 <f 
; Mts CRIA DS Ore 
¢ 
oo ' . WINSLOW HOMER 
4 a> * : 
rey : Danger 


(Water Color) 


Two fisherwomen trudge along the rocks, unmindful of the gale, to 
give warning of a ship, to the left, laboring heavily and obviously in 
trouble. Their faces are set in determination, and their skirts are 
blown by the terrific wind which piles up the sea against the shore. 
The sky is dark and fierce looking, in effective contrast to the brilliancy 
of the white breakers, which dash furiously on the shore. 


Signed at theright. Dated, 1887. Height, 14 inches ; length, 20 inches. 


eee (NP, 5 em is 285 
7 Oe GEORGE INNESS 


Italian Landscape °°” 


yi a ange 
,. $. Carre 
if 


Ves 


Aart” 


An old ruin to the left, tlte top of which is brightened by the late 
afternoon sun, is outlined against a low-toned sky. Some shepherds ° 
and their flocks are in the foreground, and a plain stretches away in the 
distance. An early moon is in the sky, and a few straggling buildings 
are scattered over the country. The tone of the canvas is warm and 
rich, and the general aspect is extremely agreeable. This picture was 
painted about 1875. 


Ds acalial 
Signed at the left. Height, ro inches; length, 14 inches. 


we 


Ne MAT SAMA | 
| 286 2 2.NN 
| on oe EDWIN A. ABBEY © A @eze#oe ee - 
An Ode to Spring 
(Pen and Ink) 


A quaintly garbed man in doublet and cloak, great collar, and sugar- 
loaf hat, finds himself surprised at the apparition of a. lightly clad 
maiden floating along as she plays upon a harp, presumably singing 
the charms of spring. 


Signed at the right. — Height, 14 inches; length, 11% inches.  / \ 
a i Me 
i ae Se oe a aT a: 
a ey ‘ * : 
287 
/y / ‘ er >» of 3 
C.D. GIBSON <47-°R. DPeavncer- 
7 @ wheat are 
New Leaf 


An old gentleman stands talking toa young woman, Twowomen are 
on the right. The caption informs us that the young woman’s New 
Year resolution is ‘‘ to do to others as she would have others do to her.”’ 
Hence, she has quit speaking to the Grigsby girls. 

Signed at the left. Height, 20 inches ; length, 21% inches. 

15 
* bart Akg 


y Pew, 
‘ oat aint bong eo . wea ® 


‘Po XV, Meee SE 


288 ua > OT NE ce 


#- 7 
? “4, Le? + a = 


RALPH A. BLAKELOCK ‘om 


Near Cloverdale 


Twilight descends, curtaining a sky still pulsating with the glimmer 
of sunset. Trees are massed in the left foreground, and a line of 
dusky verdure marks the line of a water course, a range of hills show- 
ing on the horizon beyond. 


Signed at the left, Height, 12 inches; length, 18 inches. 


& 4, Sleeveler- 


289 » Fr~hatamspatoreny:s 
FF S.ce ; 


JOSEPH DECKER 
The Orphan , 


A study of a white calf, in full sunlight, standing in a pasture field, 
in an attitude of suddenly aroused attention. The treatment of light 
is extremely skillful, and the delicate color of the young animal, in full 
illumination, is searchingly studied and subtly rendered. 


Signed at the left. Dated, 189r. Height, 14 inches; length, 17 inches. 


= eee S7eyveler* ; 
on 290 « Aembcaasmorestiesze | 


tre. WILLIAM M. CHASE, fin hiner | 


Weary /\,.1 


eS 
i LA Pa 


' 
Rud 


Seated on a sumptuous chair, her feet on a great red velvet cushion, 
a young woman in black reclines against the back, half asleep. A Japa- 
nese screen behind her makes a decorative background, and to the right 
is seen bric-a-brac, including brass pots and kettles and a great samo- 
var, <A fine rug is on the floor, and an orange cushion is on her left. 
This is one of those colorful compositions that Mr. Chase paints so f 
well, and the figure is delightfully drawn. 


Signed. Height, 9!4 inches; length, 12% inches, 


290K. is | 
tf. Lerenan JW weltey- Moser Krai 7 
«fe ered of Mar 


ae 


Ye hgh | 
rode 00S Saenylery: 


CARLETON WIGGINS 
White Cow 


A study of a white cow, seen nearly in profile and turned towards the 
right, but with her gaze straight to the spectator. The subject is 
painted with a bold and solid brush, against a landscape low in tone 
and rich in color. 


Signed at the left. Height, 12 inches ; length, 17 inches. 


At. ve VEC? fos 


aff fi. 


27s. 4 202 


HENRY R. POORE 
March Hillside 


Sheep are seeking scanty provender on a hillside still marked with 
patches of snow. The chill atmosphere of early spring is excellently 
expressed, 


Signed at the right. Height, rz inches; length, 15 inches. 


; : Sint itt pore hae a, VFO , 
3 293 br tiirey eter 
4 Bo. -- 
he eo 3 WILLIAM HART 
Twilight 


A serious study of the evening sky seen under a poetic effect. Deli- 
cately modelled cloud forms, catching the last of the sunlight, are drawn 
with knowledge and close observation of nature. The tints are tender 
yellows, grays, and blues, mingled harmoniously, and the landscape 
stretches away to a purple distance. From the William Hart sale, 
after the death of the artist. 


Signed. Height, 9 inches; length, 11 inches. 


Eo,.- a 8 beetereBeerg 


Tae ; 204 
t EDWIN A. ABBEY 
Ht A Farmer’s Daughter 


(Drawing in Sepia) 


i A country girl with her milk pail, stands by a half open gate, looking 
enviously at some of the fashionable world driving past with a trap and 


pair. 
i Signed at the left. Dated, 1877. Height, 13% inches; length, ro inches. 
2 
1 95 Xe. oe * 
468: WILLIAM T. RICHARDS 


i iat eh scesieaeimnatl Marine ot Shores = 
(Water Color) 


Some rocks, bold and jagged, run down from the right of the pic- | 
ture to the water’s edge. Against them the water swirls and breaks. 
The light from the sky dances on the surface of the sea, leaving a 
broad band of paler color. Sea birds fly close to the land, and the 
picture is painted in quiet, grayish tints. 

Signed, Height, 10 inches; length, 154 inches. 


) 296 OSTOIM Err recy 
DC oeeryen rec ALBERT HERTER ee 
LEE. Japanese Interior oe. 41, 4ceselere cee 


i {© (Water Color) 


A dainty little Japanese maid sits in the corner of an Oriental room, 
the picture of comfort. A bright red robe is thrown over a white 
undergarment, and her hands are in a curious muff decorated with a © 
brilliant green and red fowl. Some flowers are painted on the screen 
behind her, and a little basket in front contains some china. The color 
scheme is marked by variety and harmony of tint. 


Signed at the upper left. Dated, 1893. 
Height, 10% inches ; length, 6% inches. 


a, aS. AS ae a ST oO 
OE ie ae 
GEORGE INNESS 


Passing Shower 


% 4) ie) 

para } 

Ake é. 
. Ace 


Ade 


A rain cloud is passing over a stretch of country darkened by the 

, clouds overhead. The movement of the sky is powerfully expressed, and 
the sweep of shadow over the earth is finely portrayed. The scene is 
an open country, variegated with brush and trees, and with a farmhouse 
in the middle distance. 


Signed at the right. Dated, 1865. Height, 9 inches ; length, 14 inches. 
- ; “I 75 7 rs 2. 
JOS 29g SO & were Ker reore, 


J. H. DOLPH aad 


Cat and Kittens 


A sympathetic interpreter of the feline race, this artist instinctively 
catches his subjects at the most interesting moments. The present 
example represents a familiar group of three little kittens tumbling 
about and rolling over the mother, who looks at them with maternal 
pride, but is ready, nevertheless, to administer a blow of her paw when 
they have overstepped the mark in roughness. The snapping, alert 
eyes of the kittens, their easy motion, and unconscious grace are admir- 
ably rendered. 


Signed at the left. Height, 13 inches ; length, 18 inches. 


299 LC, Cerz2Ves +2 
: H. HUMPHREY MOORE 
A Moorish Guard 


Standing on a staircase, with a rich Oriental rug covering the stone 
steps, a Moorish soldier, gorgeously costumed, holds in his right hand 
a long gun inlaid with mother-of-pearl. His left hand rests easily on 
his sword, and his dark, swarthy face looks out at the spectator. 


Behind him are some pillars, and a wall with many colored tiles. All 
the elaborate detail of Eastern decoration is carefully worked out; the 
costume of the soldier, in its numberless folds and wrappings, being 
most remarkable. It is the sort of subject that this artist’s master, 
Fortuny, delighted in, and he here gives evidence in every touch of no 
less loving enthusiasm. 


Signed at the right, Height, 20 inches ; length, 12 inches. 


300 Ae ae; 
H. BOLTON JONES 
Head of a Brook 


Nature in her serenest midsummer aspect is the artist’s theme in this 
picture. Across the foreground lie the level waters of an unruffled 


stream. The shore is rich in grass and sedge, shaded in the middle ~ 


distance by a group of trees, with their reflection giving variety to the 
placid water. The bright and tender sky shows banks of cloud, sug- 
gestive of slowly gathering showers. 


Signed at the left. Height, 16 inches; length, 26 inches. 


By 31. G4) ee 
HENRY ALEXANDER 


The Capmaker 


The capmaker sits at the lofty window of an old mansion which has 
been converted into a workshop, busy at a sewing machine. The com- 
position includes many mechanical accessories, all carefully and truth- 
fully rendered. The subject was painted from nature, in a room in 
New York. 


Signed at the left. Dated, 1884. Height, 22 inches; length, 18 inches. 


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302 vs ees TOS eras 9 & 


HENRY P. SMITH 


The Oaks—Late Afternoon 


To the right a large, sturdy oak stands out boldly from a group of simi- 
lar trees, all well drawn and forcibly painted. The middle distance is in 
} strong sunlight, which gilds the trunks and the rocky ground, while 
| a dark shadow is over the foreground. A warm sky is heightened in its 
| luminosity by the depth of the greens. 


Signed at the left. Height, 18 inches; length, 28 inches. 


Z 4 Ave 303 War al Cn Cres ae be 
460. WALTER SHIRLAW 


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Cronies ¢-"; 


A reminiscence of the artist’s student days in Munich. Outside a 
brewery door the dogs of three students await their masters, who 
are clinking their glasses within. A strong study in warm browns and 


grays. 
Signed at the right. Height, 12 inches; length, 16 inches. 
304. | 
of a D4 PV ie 
ith WILLIAM M. HUNT % 7° 77" -#Y ee fe, 


Apple Blossoms 


The artist has made here a serious study of the ever decorative apple 
blossoms, which have been painted against a dark background, bringing 
out with peculiar brilliancy the white of the flowers. 


Signed at the right. Height, 12 inches; length, 8 inches. 


| ie AYE 305 °°: .Derekires oe 
M200) H. W. WATROUS 


Day-dreams 


A gentleman of the last century, sleekly elegant in his suit of silk and 
satin, smokes his pipe and drinks his dram, seated in pleasant reverie in 
his chamber. A successful experiment in light notes of color with deli- 
cate and polished execution. 


Signed at the right. Height, 10 inches; length, 8 inches. 


306 


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On ae J. F. KENSETT C.W7/,.9 fects 2640 


Storm on the Coast 


A savage surf is beating on the shore, and wasting its fury on the 

rocks and cliff at the left, while a sombre and tumultuous sea extends 

i to a lurid horizon. Vessels are scudding for safety over the angry 

waters, whose gloom is enhanced by the blackness of a storm which is 
rising in the sky, and will soon blot out the daylight. 


From the J. F. Kensett sale, after the death of the artist. 
Height, ro inches ; length, 18 inches. 


| s) 
i om 307 Oe a Pe «a 
& <> rs : a 
{ F, W. FREER , 
Morning 


Seated upon a couch in her bower, a Greek maiden, in the dawning 
of womanhood, burns incense to the goddess Aurora. The picture is a 
harmony of subdued tints warmed by the flush of morning. 


Signed at the left. Dated, 1885. Height, 14 inches; length, ro inches. 


308 t-te? cer 


| ey Ae F. M. BOGGS 
On the Coast of France 


From the right, in the middle distance, the sea wall of one of the 
Channel ports crosses towards the left and ends in a jutting point of 
rocks. House roofs and a church tower are seen beyond the wall. A 
turbulent sea sweeps from the foreground and breaks in spray against 
the shore, and the sky is veiled by storm clouds driven by the blast. 


Signed at the left. Height, 15 inches ; length, 21% inches. 


| C8 es ee aia 309 OY, Preled. 
ee” CHARLES X. HARRIS 


Italian Quarter, New York 


In one of the picturesque courtyards found in the tenement section 
of New York, where the lower order of Italians congregate, rag- 
pickers and washerwomen are at work. A variety of detail is rendered 
with care and truth, and the gay colors of the coarse dresses of the 
women make bright notes in the quiet setting of the picture. 


Signed at the left. Dated, 1884. Height, 8 inches; length, 10 inches, 


77@.- .. WINSLOW HOMER 
Under a Palm Tree 
(Water Color) 


A bright-eyed mulatto girl, in gaily colored dress, stands leaning 
against a palm tree. Her hands are folded, and she has a scarf about 
her head and throat. Evidently a belle, she appears to be keeping an 
appointment. Behind her are tropical plants, which make an effective 
background. 


TET 


Signed at the left. Dated, 1886. Height, 20-inches; length; 14 inches. . 


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# tf ¢?. GEORGE LED ' Ay ' 


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The Sun ¥ : et 


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The light is centred in a splendid glow of color around the setting 
sun, leaving the landscape in shadow and the foreground in the mystery 
of almost complete gloom. Trees at the right and left of the fore- 
ground make sombre masses against the darkening sky. 


Signed. Dated, 1886. Height, 12 inches ; length, 16 inches. 


312 ‘ 


wl OO WILL H. LOW LDS AePberr 


"Neath Apple Boughs 


The orchard is gay in its flowering livery of spring. Through the 
blossoming branch-work, the sun dapples the ground with golden gleams. 
Fair and delicate in her beauty as the flowers that embower her, a 
maiden is about to enter a pool of pellucid water in the foreground. 
Her figure is seen erect, graceful in pose, and classical in the purity of 
its outlines. The color is a tender harmony of half tones, and the mod- 
elling of the flesh is firm and finished. 


Signed at the right, Dated, 1888. Height, 24 inches ; length, 12 inches, 


313 
Sto D. W. TRYON 43 Pfeereni#ecZed | 
Newport at Night 


Amid the atmospheric darkness of a summer night, the lamps and 
electric lights of the summer city, which occupies the middle distance, 
flash like jewels. The harbor in the foreground shows the yachting 
fleet at its anchorage. A remarkable harmony of color is shown in deli- 
cate gradations of richness, and the movement of clouds in the sky and 
lights reflected in the water lend spirit to the scene. 


Signed. Height, r2 inches; length, 16 inches. 


SS 


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2.F & J. B. BRISTOL 


New England Scenery 


The view is from the hills skirting the shores of Maine. The valley 
spreads out towards the ocean, which, quiet under a soft summer sky, 
is dotted with vessels. The greens are harmonious, with much depth 
of color, and the arrangement is on lines favored by this artist. 


Signed at the left, Height, 14% inches; length, 22% inches. 


# 


¥ 


2552. 315 ae - 

GEORGE DE FOREST BRUSH | \ 

MP es ‘ 

An Aztec Sculptor ae al 

z ace” " 
His tawny figure is seen, seated on a rug, in profile, against the gray 
stone of the temple wall, which he is enriching with emblems with his 
mallet and chisel. His right arm is encircled by a bracelet of ham- 
mered gold, and his clothing consists of a jaguar skin, yellow leg- 
gings, and deerskin moccasins. His expression is one of intense absorp- 
tion in his work, and the rythmically regular movement of his figure is 

admirably expressed. 


Signed at upper right. Dated, 1887. Height, 12 inches; length, 23% inches. 


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ind 316 fo c 
JO , HORACE W. ROBBINS ) TLOn ery s 


Mountain and Valley 


From a level foreground, shaded by a scattered growth of trees, a 
wooded ridge ascends in verdant undulations. Beyond it are the craggy 
heights of a mountain chain. A noonday sun lights the landscape 
and marks it out in large masses, which are rendered with great pre- 
cision of touch and fine feeling of color. 


Signed. Height, 12 inches; length, 20 inches. 


Sh 
: THOMAS MORAN © 079" €2@ — 
Vera Cruz 


A view of the Venice of the Caribbean Sea at sunrise. The city, 
with its castellated custom-house and other buildings, is seen at the left. 
Craft of all sizes and descriptions animate the harbor. The sky is 
bright with the sparkling splendor of a tropical sunrise, whose tints 
lend variety to the water and give an aérial lightness to the white-walled 
edifices on the shore. 


Signed at the right, Dated, 1883, Height, 20 inches; length, 30inches. 


| ; 318 re, SlechK leor- 
: a DOUGLAS VOLK | 
| ©. 

% Puritan Maiden 


Leaning against the tree, whose shade has sheltered them upon many 

a tryst, she watches the departure of her lover, whose recent presence 

is indicated by his receding footprints in the snow. The landscape 

stretches away in wastes of snow under a sad sky, and the picture is per- 

vaded by the sentiment of parting and regret. Upon its exhibition at 

Bi the National Academy of Design, in 1881, this picture had appended 

i to it the quotation: ‘‘ The snows must melt, the trees bud and roses 
bloom, ere he will come again,” 


Signed at the left. Height, 30 inches; length, 24 inches. 


3190 Lg Nelerze te FL 
_— WILLIAM H. LIPPINCOTT 


Garden in June 


A study of a garden and poultry yard bright with fresh spring vege- 
tation, and enlivened by domestic fowl. 


Signed at the right. Dated, 1882. Height, ro¥%4 inches; length, 14 inches. 


320 


WINSLOW HOMER 


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ee ae Me teres Ke? 
Sea on the Bar : 


(Water Color) 


A breezy sky and sea, with surf piling up, and green water heavily 
moving. In the foreground is a sandbar on which the water surges, 
and, in the distance, a bit of shore dark under a gray sky. A small 
sail-boat labors stolidly, and the swirling clouds fly along, impelled by 
strong winds. A veritable bit of nature, realistically indicated. 


Signed at the left. Dated, 1887, Height, 14% inches; length, 2134 inches, 


321 oe) .C Shee; epad2 POPUL 
e/ 


2eo0,-~- 
WORTHINGTON WHITTREDGE 


Home by the Sea 


The weather-beaten buildings of the old farm, sheltered from the tem- 
pests by the weather-beaten trees, are seen at the left. A road leads past 
the farm and down to the shore. The view, taken from an elevated and 
rocky foreground, shows the beach, with a line of breakers fringing it 
with foam, and the sea, with many vessels passing to and fro. At the 
right a rocky headland juts into the sea. 


a aM nae en a ea 
SS (> 7 Fn ee OT ay ee NU Se 


Signed at the left, Height, 14 inches; length, 22 inches. 
% 
322 
4 b0 J. ALDEN WEIR Chl%'e,- 2 Col 
Roses 4 


A study of pale-tinted roses, of a simple and harmonious color scheme 
and forcible execution. 


Signed at the left. Dated, 1883. Height, 23 inches; length, rs inches. 


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323 


Be 72. Nererrr Bette or q 
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~ E. L. HENRY 
The Canal Lock 


Stopping for a moment to chat, a farmer and his wife have halted 
their horse and wagon on the road in front of a country store. On 
the steps are some typical loungers, Behind is a stretch of country 
with a canal winding off to the distance, and in front is the lock. Each 
face and figure is a study of character. Even the horse and wagon are 
in every way typical. The artist has lingered with loving care over 
each bit of detail, and the general effect is unified. 


Signed at the left, Dated, 1894, Height, 8 inches; length, zo inches, 


324 
H. BOLTON JONES Arete 
The Lily Pond Alte 


Fresh and sparkling in spring greens, the banks on either side of a 
stream stand out with brilliant emerald tints. Trees on the right are re- 
flected in the water, where float innumerable lily pads. A village is in 
the distance, the white houses standing out boldly in the sunlight, and 
a scintillating sky is overhead. White beeches on the right are reflected 
in the water. A sympathetic transcript of springtime. 


Signed at the right. Height, 19 inches; length, 30 inches. 


325 F, Macie fe the r- 
ee WILLIAM T. TREGOU 


Battery Forward! . 
~~ Ss 
The battery is advancing to the front under heavy fire from the 
enemy. One soldier, shot in his saddle, reels under the stroke, while a 
comrade seizes the bridle his hands can no longer control, in order to 
guide the flying charger. The hurry, dust, and heat of battle are 
rendered with a spirited brush, 


Signed at the left. Dated, 1885. Height, 20 inches; length, 30 inches. 


26 yn ry ” 
3 C. . fi ASO CATV EX. 


GEORGE H. SMILLIE 


View from Grindstone Neck 


2° Be: 


From an eminence of rocks and stunted pines, one looks down and 
across a stretch of water containing some small islands and running off 
to distant hills, which, as they recede, become tender and blue. A 
calm has fallen on the water, which placidly mirrors the clouds above. 
In the distance a boat drifts idly along, and the sky above is beautiful in 
tender tones, diversified by a bank of clouds on the right. 

Signed at the right. Height, 20 inches ; length, 26 inches, 


37 40. APL. Soe y eee >: 
THEODORE WORES l > ve 


Chinese Lantern Painter 


The artist is seated at the right, in front of a window, decorating the 
huge paper lanterns, like balloons, which are an indispensable feature of 
every Chinese festival, with the grotesque and emblematic designs dear 
to the Mongolian heart. The scene is in Chinatown, San Francisco. 

Signed at the right. Height, 32 inches; length, 17 inches. 


328 %. 4, oP fhe reepr/e P Shs. <a) Yd 
2.S®, JAMES M. HART , 


Landscape—Farmington, Conn. 


In a green stretch of meadowland, with a winding river in the 
distance, and spreading trees on the left, some cattle and sheep are 
taking a noonday rest. The sunlight is subdued by clouds, of which 
the sky is full, and there is a delicate haze overall. Trees may be 
seen in the distance, and a stone wall runs across the composition. <A 
well-worn path winds along the centre. A peaceful, poetic glimpse of 
nature, 

Signed at the left. Dated, 1898. Height, 20 inches; length, 28 inches. 


RST eg se 
ve, - r = - Se 


SES 


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; 
Pie a etre 
doshas THOMAS HOVENDEN 


Chloe and Sam 


The old man squats beside the kitchen stove on the right, sniffing 
at.a pot upon the fire, whose savory steam rises to greet his nostrils in 
a grateful cloud. At the left, his wife, standing at a table, pauses in 
her ironing to turn and chide him for the childish impatience of his 
appetite. The kitchen is a typical cabin interior of the homely and 
comfortable order. 

Signed at the right. Dated, 1882. Height, 24 inches; length, 30 inches. 


330 


WINSLOW HOMER 


wo Of, Leaping Trout 1302 Sbes oe oD lAeFtk 


(Water Color) 

Two trout are leaping after food from beneath lily pads, their forms, 
standing out in rainbow-like brilliancy against the dark woodland 
greens. The forms and movement are indicated with a realism sufficient 
to delight a fisherman’s heart and to satisfy an artist. Some of the 
lilies are overturned and show tender pink color, and there is a reflection 


of the white sky on the left. 
Signed at the left. Height, 14 inches; length, 20 inches. 


331 eae G* eereZez Fe 
GEORGE INNESS 


Brush Burning 


AS Q2Ee 


In a yellow field from which spring three tall slender trees, some 
people are burning brush. The cool gray blue sky is characteristic of — 
the season. A distant stream winds out to far away hills. On the 
left is a pile of timber, while the smoke from the burning brush is 
blown to the left and mingles with the sky. 

Signed at the left. Dated, 1884. Height, 20 inches ; length, 30 inches. 


332 

ion CF : fy 4 ae. 

ee, PRRVERICN WKOST 9° "78 re 
Springtime 


The soft, tender qualities of the spring colors are delicately felt in 
this composition, representing a marshy piece of land, with a great pond 
in the foreground, where ducks are swimming. Slender trees grow 
gracefully up on either side, their foliage of pale greens making soft 
notes against a spring sky of quiet hues. The scene is truthfully de- 
picted, and the picture is marked by sentiment and tender beauty of 


color. 
Signed at the right. Height, 30 inches ; length, 45 inches. 
333 
ASO GEORGE W. MAYNARD 


> 
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Bacchante* 7“ Z V7 & Vrs Gy 


The sensuous head and bust of a Bacchante, her eyes closed, are 
against a background of autumn leaves, some of which are woven about 
her head. White drapery falls away from the form, which is painted 
in rich flesh tones, palpitating in luminosity. The conception is per- 
sonal, and the execution characteristic of the artist’s manner. 

Signed at the right, Height, 24 inches; length, 17 inches, 


334 
WYATT EATON py 
c ee , Daphne 


The head is painted in full face. Large eyes and full lips denote the 
temperament of the subject. The fluffy masses of blonde hair are inter- 
twined with flowers, and with her left hand she holds a cluster of blos- 
soms against her breast. The shoulders are bare, and the face and 
bust, painted entirely in half tones, are relieved against a simple dark 
background. 


Signed at the upper right. Dated, 1886. 
Height, 20 inches; length, 16 inches. 


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335 C4 Des eet 
R, SWAIN GIFFORD 


Nashewanna Island 


e 


From the superior elevation of the foreground, the eye follows a 
coast line broken by projecting points of rock, between which the 
breakers play in flashing foam upon the beach. From the fore- 
ground, on the left, the moor extends its undulating surface variegated 
with heather. A sunny sky brightens the scene. 


Signed at the left. Height, 14 inches; length, 26 inches, 


336 Aka Seis 
CHARLES C. CURRAN iy 
The Wreck yw 


Seated on the sands by the seashore, a little boy has sent out a model 
boat, attached to a long string, A wave has upset it, and with it his 
hopes. He mournfully drags it back. The little chap is cleverly 
painted with attention to detail, and the sea is put in in attractive 
tones. 


Signed at the right. Dated, 1886. Height, 9 inches; length, r2 inches. 


337 Cerp2°*ccrr-et ret earl 


JERVIS McENTEE Cee 
Eastern Sky at Sunset 


The reflection of the sunset lends splendor to the clouded eastern 
sky. The landscape, which is viewed from a mountain top, is a wide- 
reaching expanse of partially timbered and sparsely settled country, 
wrapped in a mantle of snow. Shrouded in obscurity, with detail only 
dimly hinted at, gleams of light here and there suggest in the landscape 
the presence of human habitations, and relieve it of the gloom of com- 
plete abandonment. 


Signed at the right. Height, 24 inches ; length, 20 inches. 


} 


338 C..¢*% . Bletes* 


ABO, EDWARD SIMMONS 
A Passing Train 


This admirably painted view of an overlook of St. Ives Bay, Corn- 
wall, is full of truth to nature, and is marked by beautiful qualities of 
color. The hour is just at sunset, with the spectator looking to the i 
east. The steam of a locomotive, supposed to be passing below, lends ‘os 
interest and variety to the foreground. t 


a 
| 
Signed, Height, 16 inches; length, 40 inches, . 


4 a « 
339 B70 Kees 22e.07 


BRUCE) CRANE yaar? 
Afternoon Light © 


Two tall sycamores guard the sides of a brook that runs through a 
cultivated meadowland. It isa rich and brilliant landscape, painted in 
. the eastern part of Pennsylvania. 


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oy] ieee 


Signed and dated, 1898, Height, 25 inches ; length, 30 inches. 


340 . 
o : WINSLOW HOMER 42. Jy: 747 Leen 
The Breakwater i 

(Water Color) 


Two young fisherwomen, one of whom has a basket in her hands, 
lean over the stone wall of a breakwater against which the sea dashes. 
Other figures are seen at the end of the quay, and a cliff rises on to the 
right. In the distance some vessels are silhouetted against the horizon, 
and boats are drawn up on the distant beach. 


Signed at the right. Dated, 1883. Height, 14 inches; length, 20 inches. 


Io o- 341 


Oe aol 
f Jy” “ “ ~ GEORGE INNESS 
ti wet - ye Waite 
¥ Si “a Cs z >, Jan = Ls Tha r 
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a Wl” “a Threatening : ays < 


The setting sun makes, at the left, a burst of dull, moist light in a 
sky heavy with showers. At the right, purple rain clouds hang heavily 
over the dripping earth, stirred into movement by the wind. On the 
left, inthe foreground, sheep are huddled under a sheltering shed, and 
their shepherd steps forth to inspect the weather. The gradation from 
the warmth of the sunset to the wet gloom of the storm fills the sky 
with subtleties of color and alternations of form. The landscape is 
depicted in broad, simple masses. Over a line of trees and thicket 
which crosses the middle distance, some roofs are seen, and the chim- 
ney of a workshop, with its smoke blown by the wind, mingles its 
vapor with the overhanging sky. The threat of the tempest suggests 
the sullen resonance of thunder in the gathering obscurity of a night 


of storm. 
Signed attheleft. Dated, 1891. Height, 30 inches; length, 45 inches. 
342 | 
A$, THOMAS EAKINS +9 .C,Heenevnind 


Professionals at Rehearsal 


—— | 


Two Bohemian musicians are rehearsing in their room, At the 
right, in his shirt sleeves, a zither player sits at a table. At the left, 
his partner thrums an accompaniment on the guitar. Portfolios of 
music are upon the floor, and a wine bottlé and glasses on the table 
show that the musicians do not allow their work to be without refresh- 
ing relief. The vibrating color is in keeping with the character of the 
music which is being discoursed. A brilliant concentration of light 
adds to the richness of the chromatic scheme. 


Painted on commission. Height, 16 inches; length, r2 inches. 


—— B43 ie "rte, CCcceel & 
D. W. TRYON 
Evening 


Yoos, 


Seen 


ce Sra tr ee =o es recaea say 
> Ce a ean etn ne a POR yt 


ee 


A quiet, peaceful scene of rich, luxuriant meadowland, with a young 
tree in the left centre clearly defined against the sky. The sun just 
sinks beyond the horizon, leaving a glow behind it that sends its radi- 
ance over the whole sky, while some dark clouds, banked up to the left, 
are touched with streaks of deep crimson. Smaller gold-tipped clouds 
fleck the sky, against which some thin branches are silhouetted. Tran- 
quillity is felt throughout the composition. A pool in the foreground 
reflects some light ; a broken wail runs across the middle distance, and 
on the left lies a twisted branch. ‘This picture was awarded a Hall- 
garten prize in 1887, 
Signed at the left. | Height, 16 inches; length, 24 inches. 


Tr S Ses, ta pp SO SS 


feet 


t 

344 if rs , a i ny wt" CRAAMD Corr ¢ 
oa _ EDWIN A. ABBEY i 
Picking Apple Blossoms q 

(Black and White) ‘ 


Some rustics, catching the spirit of spring, are roystering about a 
field. In the foreground one of the artist’s delightful types of young 
women, of exceeding grace and beauty, reaches out to pluck some of 
the flowering apple blossoms. , Py 


Signed at'the left. Height, 13 inches; length, 1534 inches. ’ ie 
J if 
th 
% 345 g H 
Z a ' 
e e tC” oe ra # ~ fy “4 i" 
ose. HOMER MARTIN » Seeretpoterey 


Indian Summer 


The painter here depicts a toneful bit of brook and woodland, with is 
the delicacy of autumnal haze. A shelving bank in the foreground runs i 
up from a quiet stream, reflected in which are the trees on the opposite 
shore. The distance fades away almost imperceptibly into tender blues 
and grays. 

Signed. Height, 161%4 inches; length, 12 inches. 


346 “> Kochebhelbéler 
a oa GEORGE B. BUTLER 
Puss at Rest 


A domestic cat, of the gray striped variety, has found a resting place 
on the head of a barrel in a back yard. Puss has her forepaws curled 
under her, and has assumed a properly comfortable attitude, but her 
eyes are alert with the natural wariness of her tribe, and she keeps a 
sharp lookout for possible menace or peril. A masterly piece of color. 


Signed at the left. Dated, 1863. Height, 18 inches; length, 14 inches, 

; 

347 

+ 38: IRVING R. WILES ; 

' FA Serecletet+* J 

Shady Lawn a 

A strong study of the contrasts of midsummer tints on house wall, | 

stone walk, and greensward, varied by intense light and transparent q 

shadow. . 

Signed at the left. Dated, 1887. Height, r4 inches; length, 18 inches. 
~ “WILLIAM BLISS BAKER 

Silence 


The interior of one of the primeval forests to be found in the upper 
part of New York State. Absolute solitude is expressed in the untrod- 
den wilderness ; and in the motionless trees, whose branches do not 
stir and whose foliage does not rustle. The title of the picture is 
admirably borne out. The painting displays a perfect fidelity to facts 
and great wealth of detail, together with all the artist’s delicate ap- 
preciation of the subtler beauties of nature, and their appeal to the 
imagination. 


Signed. Height, 24 inches; length, 30 inches. 


349 Cra lI “ye XS ee oe 
AL ERY DER | 


Christ Appearing to Mary 


The figure of the Redeemer is shown, turning as He crosses towards 
the right of the canvas, to extend His hand in benediction towards 
Mary, who kneels at the left. A fine harmony of rich color invests VF 
the landscape background, which rises to a high horizon. The figure 
of the Saviour is full of a touching dignity, superior to, and yet ex- 
pressive of, suffering borne with noble resignation. In the kneeling 
figure the anguish of intense grief and the submission of obedience to 
Divine command, contend for the mastery. 


Signed. Height, 14 inches; length, 16 inches, | 


350 r po! #25 $ ¢> #) Yee top ftdo» >t & 


POLS O / Ge 


: WINSLOW HOMER ie OS ane : 
J i Rae “ a F ea ae if 
Moonlight—Wood’s Island Light \° J) tS 


The sea dashes monotonously against some rocks in the forefround. 4 
On the face of the water the shimmer of the moonlight is reflected, I 
and in the breaking wave the deep blue shadows are seen. The moon ae 
is not shown, but a gray pale ring indicates its position in the heavens, 
and on the horizon flashes the brilliant glow of the lighthouse lamp, ie 
with a light or two on the shore. | 


Signed at the left. Dated, 1894. Height, 30 inches; length, 40 inches. 


351 ee 
m eel es OFe/: rete 
7 SOO, GEORGE INNESS 


Winter Morning—Montclair 


It is a morning of frost after a season of thaw that has left the snow 
in patches on the frozen ground. Across the middle distance the houses 
of a suburban settlement are seen through bare trees. Beyond, a range 


-\ of hills makes a barrier against a sky in which clouds are rising with 
threats of snow. Some of their summer leafage, now dead and meagre, 
still clings to the branches of the trees. In the foreground, at the left, 
the ruins of a great old tree that the woodman’s axe has levelled for 
fuel are seen lying scattered about. An old woman gleans some fagots 
for her fire, and from the village a teamster drives his oxen to drag 
the massive timber to the sawmill. The tingling atmosphere enshrouds 

iH the landscape, and the feeling of bleak weather is admirably rendered. 


Signed at the right. Dated, 1882. Height, 30 inches ; length, 45 inches. 


352 , Skee 
4 3 i ff «> - ? 7 « , v ee é . 
LOUIS MOELLER 


Inspection 


Having turned it, almost inside out, a man is still rummaging in a 
trunk from which he has extracted all sorts of odds and ends. An 
elderly man, on a bench near the wall, regards the searcher. Both 
figures are drawn with insistence on the detail, yet without any evidence 
of fatigue, for the execution is spirited. The still-life is no less inter- 
estingly painted, and the composition is admirably balanced. 


Signed. Height, rz inches ; length, 14 inches. 
| | 353 | 
" yi ,e i } 
i ey CHARLES H. Davis 7: #€% Mellen 


{Ge 
A Connecticut Valley 


Some meadowland, rich in full autumnal tints of reds and yellows, 
stretches down to'the sea, There are bare trees on the left, while in the 
right centre a sturdy young oak retaining its foliage, which has turned a 
reddish yellow, stands out prominently. Form is well indicated, and 
the trees tell effectively against a cool, gray, luminous sky, There are 
rocks here and there, and the distance is tender in color. As in all of 
the pictures by this artist, the sentiment of the time and place is well 
conveyed. The execution is broad and comprehensive. 

Signed, Height, 20 inches ; length, 27 inches, 


354 ‘Kw3leexrvrele 
A. H. THAYER 


Lillian a 


The head of a young girl, shown to the shoulders, and facing to the He 
left, against a background of spring blossoms. It is broad and pow- % 
erful in treatment, well defined in character, and marked by a simple . 


and beautiful color scheme. 


. Signed at the upper right.’ Height, 20 inches; length, 16 inches. 


a - ——, 


a Pe OF WVeelreccen 
Zoe BENJAMIN WEST 


Expulsion from Eden 


From the brightness of the garden to which they have lost their 
title by their disobedience, the angel is driving Adam and Eve into an 
outer darkness of tempest and terror. Behind the angel at the left, a 
vast and awful form shapes itself in the celestial light which illuminates 
the lost Eden, and a majestic head is turned towards the banished pair 
with an expression of sad reproach. The movement of the flying 
figures is full of terrified. haste, and the attitude of the angel is that of 


menace and command. 
Height, zoinches; length, 30 inches, 


’ 
eal 356 
67$ GILBERT STUART °**¢+ 4 .¢/ewcesy, 

Senator Young 


First of the American portrait painters of his day, and an artist of 
sterling worth, Stuart brought to all of his likenesses not only virile exe- 
cution, but in every case he secured the personality of his sitter. This 
portrait shows the artist’s qualities of directness and truth. One may 
here see the man as he was, shown through the temperament of a 

“powerful painter, and there is the feeling of likeness though one may 
not have known the original. Such, indeed, is the impression made 
by all good portraiture. The color is rich and warm, and the forms are 


put in with comprehension of anatomy and construction. John Pope, 
N.A., owned this picture for many years, and it has been commended 
by Charles H. Hart, Eastman Johnson, Daniel Huntington, and William 
M. Hunt. It was exhibited in the World’s Fair in 1893, subsequently 
at the Metropolitan Museum of Art, and at the recent Portrait Show at 


the Academy of Design. 
Height, 29 inches; length, 2334 inches. 


357 .34rss oS . Feet ers 
REMBRANDT PEALE , 


Washington 


This portrait of General Washington is characteristic both of the sit- 
ter and the painter. Enjoying exceptional facilities for painting him 
from life, Peale became thoroughly familiar with Washington, and 
the present work is thoroughly characteristic. The head is delight- 
fully drawn ; the mouth, somewhat set, is firm, and the eyes have a 
benign expression. A white stock and lace scarf are about the throat, 
and the figure is clothed in a black coat. This work is full of great 
dignity and decision. It is known as the Gilbert portrait. It came 
direct from the artist Peale to Dr. David Gilbert, of Philadelphia. It 
was inherited by his son, Dr. W. Kent Gilbert, who, dying some fifteen 
years ago, left the picture to his children. The canvas came into the 
hands of S. P. Avery, Jr., from whom it was purchased. 


Height, 29 inches; length, 23% inches. 


358 sR. Hecersl 
CHARLES D. WELDON 


Dreamland 4 


The little mistress of an esthetical mansion lies asleep upon a lounge 
in a richly furnished apartment. In her arms she holds her doll, a doll 
of the Caucasian variety ; while the dolls of her dreams, a troop of the 
Japanese breed, in characteristic attire, curiously examine their pale- 
faced rival and its mistress. The latter slumbers on, but her pet com- 
panion has awakened, and with astonished eyes stares at the intruders. 
This picture, which was shown at the National Academy in 1883, at- 
tracted much attention as a bright and organ satire on the Japanese 
craze which was then at its height. 


Signed at the right. Dated, 1883. Height, 24 inches; length, 40 inches. 


7) 


; 


f- 


bey 


The Spinner 


A character study from life at one of the Moravian settlements in 
Pennsylvania. An aged matron, seated at her spinning wheel, in a 
quaint, old-fashioned rustic interior, twists the flax from her distaff. 
Through a window a glimpse of an orchard is given. 

Signed at the left. Dated, 1882, Height, 12 inches; length, 9 inches, 


| BaP 
» Ge ae 
ae 
3 | aie 
# we ¢ ill 
a wi g Danis 
# Sad 


WINSLOW HOMER | 


The Two Guides ig a 3rez >* 


The pioneer of the past is schooling his young successor, to whom he 
will soon abdicate his place, in some of the secrets of his craft. The 
old man, still stalwart and lusty for all the frost that whitens his beard, 
and the powerful young woodsman, are crossing a mountain ridge. 
The ground is wet and dark with dews and midnight showers. Out of 
the depths behind them mist rises from the streams and springs below, 
and floating flecks of cloud blow along the flanks of the mountains. 
The guides have halted at the summit of the ridge, and the older man 
points forward, at some landmark beyond. ‘Two grand and rugged 
types, amid a grand and rugged nature, they seem instinct with, and 
eloquent of, the spirit of a scene and life which is yielding steadily to 
time, and of which this picture will, in the future, be a historical re- 
minder and landmark. 


Signed at the left. Height, 24 inches; length, 40 inches. 


, 361 


Summer Foliage 


This remarkable study in greens is a simple motif of a field with a 
few trees and some interesting foreground detail ; but with these modest 
materials the artist has evolved an astonishing result. A whitish gray 


959 offs LL Sekleass ed 
/60.: CHARLES F. ULRICH 


GEORGE INNESS *”. 8. -S ce 4 ¢ 


* tree-trunk rises nearly from the centre; on the right is a little clump 
of bushes growing from a stone wall, and on the left, through other _ 
trees, is seen a bit of distance. Overhead, there are patches of blue sky 
flecked here and there with white clouds. Starting with these, how- 
ever, the painter has made a careful analysis of the relations of the dif- 

. ferent greens, one to the other, succeeding in the difficult task as only a 
‘ man could whose knowledge of nature was all-embracing. 

Signed at the left. Dated, 1888. Height, 30 inches; length, 45 inches. 


Sis 


362 
i LOUIS MOELLER © e7e*e?ewcere C£s” 
| | Disagreement o ee i ¥ is 


A game of cards has been interrupted because of a misunderstanding. 
Eight men are involved. Three of them sit at a red covered table, | 
counting the chips and endeavoring to straighten out affairs. One . 
bi of these, a man in his shirt sleeves, is a character study by himself. : 
a Another, quite exhausted, sags down in his chair. Still another sits @ 
sulkily in the background, by a screen. Three more, standing, are 
earnestly engaged talking. It all seems a hopeless tangle, and the con- ; 
fusion is expressed in a masterly manner. The room itself is a library, ‘ 
for it contains bookcases, and there are evidences of more peaceful hours 
having been passed within its walls. Just now, however, the game has 
usurped all other considerations. It should be noted that this remark- : 
able composition, worthy to rank with the work of the Dutch genre ¥ 
painters of three centuries ago, is executed with a high degree of finish 
which is in no respect wanting, and as a study of character, life, and 
manners, it has not been surpassed by any work of its kind. 


Signed. Height, 24 inches; length, 34 inches. 

363 | 

. ; 

en W. L. PICKNELL 144%, /fears© 
Sunday Morning iss tic 


Over a flat landscape extending to distant hills, the early morning sun 
beats down pitilessly, A sandy road starting from the right of the 
composition runs to a little cluster of houses, probably a Breton ham- 
let, nestling down among gorse and stunted oaks. An old woman 
wends her way to the habitations, supporting herself on her cane. 


Smoke comes up from the chimneys, quiet fills the air, and the scene is 
entirely peaceful. The yellow blossoms on the gorse sparkle in the light. 
The atmosphere is unusually clear, and the houses simmer in the sun- 
light. Painted broadly, the artist has differentiated all the subtleties of 
summer greens, and given them great variety and beauty. The sky is 
broken only by two or three clouds, and is luminous and fresh in color. 
Signed at the left, Dated, 1887. . Height, 39 inches ; length, 53 inches. 


B75 : 34K SS  Beerrees ee 
H. SIDDONS MOWBRAY " a wf [i 
Aladdin Rant _ Yo ow | 

In the foreground, at the centre, the widow’s son kneels before thd) aa 


basin of a fountain in a blooming Oriental garden, rubbing his magic 
lamp to clean it. The sprites, summoned by this accidental invocation, 
descend in graceful female forms from the thickets at the right and 
behind him. He looks up from his work in surprise at the sound of 
their approach. The movement of the figures is alive with roguish 
spirit ; the color scheme is one of subdued and sonorous splendor, and 
the treatment of substances and textures is of the greatest fidelity and 


accuracy. 
Signed at the right. Height, 23% inches; length, 19 inches. 
: 305 Melita wv (ee DOLCOER «| 
\ iy 
S/O. GEORGE INNESS eet 
Delaware Valley f 


\ 


Magnificent in its vastness and in the fertility of its soils, bursting 
with that wealth of fruit and harvest which nature bestows in her most 
bounteous mood, the great valley of one of the great rivers of America 
loses itself in a distance gray with showers. On either hand its moun- 
tain walls rise to the clouds whose lower lying vapors curl along their 
forest-clad flanks, as if to interpose themselves as barriers between the 

‘ tempest and'the land of peace and plenty committed to their guardian- 
ship, The valley offers an endless diversity of farm and pasture, 
orchards, and fields in which the golden grain is falling before the 
reaper. At the left, along the road which ascends into the elevated 
foreground, a hay wagon mounts, and behind the trees which shade the 


Corl “a 


road is seen the roof of a hillside farm. The picture breathes the glori- 
it ous spirit of the ripened season, intoxicated with the perfume of fruit 
i and the splendid strength of an earth rioting in its own richness. The 
color is of a ringing resonance of force and harmony, and the handling 
instinct with nervous power. 
Signed and dated, 1865. Height, 16 inches; length, 24 inches. 


306 dy. O94 HE Le 17772 
EASTMAN JOHNSON *, vw jb 


rn 4 
< ia 
4 


New England Peddler + 


# 
iy 


Seated in a snug corner of the garden, the ancient vender of much- 
coveted trifles is parading the fascinating contents of his basket to a 
rustic lass who kneels beside him with open eyes and receptive ears. 
The persuasive accents of the adroit old chapman are suggested by the 
expression of his shrewd face. That his persuasion is scarcely needed 
to effect a sale the absorbed interest of his prospective customer makes 


manifest. 
Signed at the left. Dated, 1879. Height, 29 inches; length, 19 inches. 
367 
> * eh oat re 
46H, A. H. WYANT €e2ffee7 


Dawn—Keene Valley 


A dark and tempestuous night is yielding slowly and unwillingly to the 
day. The first light struggles through a sky banked with leaden clouds. 
In this gloomy wilderness of tangled thicket and tempest-ravaged hill- » 
sides, a cabin is seen on an elevation at the right, and on the left the 
foreground is brightened out of its blackest gloom by a pool, whose sur- 
face returns a pale salutation to the dawn. 


se 


ee la 
a IO LS Pa lg yn eee 


Signed at the left. Height, 18 inches; length, 30 inches. 


368 


yee ROBERT WYLIE Ceereeregoe (4 
ea A Fortune Teller of Brittany nf eel 


Mr. Wylie’s long residence among the Brittany folk enabled him to. 
paint this group in a characteristic manner. In a rude interior, coun- 


oan 


terparts of which are easily found to-day in the west of France, a 

number of women sit listening to an old crone who plays upon their 

superstitions. They look with fearful glances towards her as she talks. 

The uncouth figures, the picturesque dress, and remarkable headgear 
add to the composition, while the touch of child life at the back gives 
the pathetic note. One may see here a survival of the peasantry of the 
middle ages, still to be found in this nineteenth century, and the artist 
has painted the episode with strong feeling and sympathy. 

% Signed at the lower left. 


a 


Boe hie 369 ATOEESS or 6d ie eT 


D.W.TRYON 4 
Return Home at Twilight. 


gs i 
% =) y bas a. ie 
# ay Sy a s " 


Two figures are passing along a road which leads to some farm- 
houses, the windows of which are lit by the firelight within. Smoke 
rises from a chimney, and a crescent moon appears above the roofs. 

The sky, of a tender twilight tone, is of blue with clouds touched by the 
faint light of the departing sun. An apple tree and fences are other 
|, features of the composition. Full of sentiment, the picture has all the 
“suggestion of the moment, for the painter has rendered his theme sym- a 
pathetically ; while as a composition, there is fine balance and arrange- 
ment of light and shade. 3 


Signed atthe right. Dated, 1883. Height, 22 inches; length, 33 inches. 
¥ 
Le 370 YW Sefcece Ss’ f~ 

4 St - oe ie Ae 

h- wt WINSLOW HOMER »,, W.\, Woe 

£  - oi B ins mt ? ‘e ‘i. 

‘. fe, i? a ° pers F i 

eda ot” Eight Bells | Vel 

a ‘i Diu f 2% 


The scene is on the quarter-deck of a fishing schooner. Afteranight *»~* 
and morning of storm, which has blown their craft before it, the captain 
and his first officer are endeavoring to discover their location by an 
observation of the noonday sun, which the blowing and bursting cloud 
rack permits to shed a gleam upon the livid and unruly sea. The men 
are clad in oilskins, glittering with moisture, as if to remind one that 
this is the armor in which they do battle with the ocean and the 
tempest. The solid poise of their figures on the heaving deck is 
heroic in its simplicity. The mate reads the measurement on his 


we } { ‘ 
‘ \ AA £6 
A en anares (i ww whl 


| 4 


Height, 3334 inches; length,47inches. . ee 


¢ 
Say fe 


jee .— 371 Conipeare 4 


x group of trees on the left. The leaves have turned red and lon 


quadrant, while the captain completes a more delicate cal 

the telescope of his sextant at his eye. Only a glimpse of t 

and a fragment of the standing rigging are shown. All the rest is ate 

tempestuous sea and sky, amid the fury of which these two, gig vo: yak 

strong men seem masters, painted with a master hand. ai 
Signed, and dated 1888. Height, 30 inches ; length, 24 inches, 


sf I ee MURPHY 
1 ibd ~ October 
k field of acarasined pasture land is in the foreground, wit 


the trunks stand out in colorful harmony. In the distance a cornfield i 1S Moy 
made out, with a shock here and there. There is a breezy te after- 
noon sky, with some clouds caught by sunlight. This is one of the fin 2 
est examples of the work of this well-known artist. 3 

Signed at the left. Dated, 1888-93. Height, 32 inches; length, 5° inches. 


GEORGE INNESS — - Ab iedbee ; 
After a Summer Shower 


The scene is one of much dramatic effect, at a moment when, a storm . | 
passing to the right, the sun bursts out in dazzling brilliancy and makes 
a rainbow.on the mist. This last, starting from the top centre,makesa 
span half-way across the canvas, fading away to the distant trees ablaze 
with sunlight, the luminosity of which gives additional force to the 
sullen-looking bank of dark storm clouds. Three young trees and an — 
old trunk are’in the left centre of the composition—the formerin shadow, — 
the latter catching the glow of the sun. A road runs through the field, 
showing deep ruts in the grass, and in the foreground is a great broken — 
tree trunk. White clouds are beginning to bank up at the left, showing : 
the presence of wind. The scene is realized with dramatic force, and = a > 
the color scheme, interesting in its variety of tints, is full and rich. a 

Signed at the right. Dated, 1894. Height, 32 inches ; length, 42 inches. 


ee 


THE AMERICAN ART ASSOCIATION, ~~ 


MANAGERS, 
THOMAS E. KIRBY, i 
AUCTIONEER. | 
ii aad 
Cprerccvest Par Pec < a ner 
eo 


RD 2 SE cD 


try, paid 


pring 

Bachelor;” E. N. Lawrence. 
21 er’s ‘* Connoi isseurs;”’ - 
Cnysevameala “October; "1 By- 


eee peewee en ea eee ee 


ee ee ed 


i 66 Danger;’’ Henry 
whee 
ess’s ‘ Italian Landscape;”’ 


we eee 


ee es 


| oa q:) a “The *Orphahy? ti ‘ 


Ce ee 


is Fi petit cy 


a ee ee ee) 


ee ee ee 


5; ee Shower;” J.S. Bache. 
Dolph’s “Oat and Kittens;”” 

y Moore’s “A Moorish 
TE OMOGNY CYR. 6 <5 265. 1 aks 
epson, 8 p neat of a Brook;”’ 


ee 


eee ee ee ee 


Ce ee 


ee ee ee 


Ce ed 


i ee ee ee ey 


reer’s “Morning:” Ww. T. Evans... : 
nt ’s “On the Coast ise France:;’ 


es X. _ Harris’ 8 “Italian Quarter, New 
oepork. B Doelger 
rinslo ay Homer’s ‘‘Under a Palm Tree;”’ 
aes eo et Mipyeiand: 7) fi. ee. hs 
ness’ A 5 e Sun; Mrs, Alice Cheney. 
tow 8 Neath Apple Boughs; 


eee ee ee) 


eee ee ee ee ee ee 


‘Burton Manstie 
B. Bristol's 


Pe ae ee eo ee 


b. Gores De Forest fluc 


Cee ee ee a ee 


us New iveland Scenery;’’ 


Pepsculpter: EB. N. Lawrence....5....0.... 
. Horace W. R sbins’s pe Sryaiae a and 
SUN ALLOY CMe Mi ANOTY, JD. os seeeke cheesey 


17. Thomas” Motan’ 8 Vera Cruz;” ©. M. 
818, Dousiae ‘Volk’s “Puritan Maiden;” 
aio. William E 


i 


ee ee i ee eo ey 


Lippencott’s “Garden in 
} MNEs 2h) As LOMAITEs.. oe ele ee. 
; 820, Winslow. Homer’s "‘Sea on the Bar;’’ 
i Pe ATOR i458 l ac de ce ebeeee. 
a 821, “Worthington Whittredge’s “Home bed 

id eSea;” A. CO, ump reys.; is 

322. J. tMden Weir's ‘ Vainaces ‘ Gotten & Go. 
Fee's E. L. cane iene Canal Medioce if 
i _Naumburg. . DR Gis ect amen alts 


a high 
ost-talked-of Fortuny 


ntly s here 
he complete list of the paint- 


$225 
igs 
1 150 
480 


300. 


700 


80 


FUN OSHME. i ya litem ees 2,500 | 
852. Louis Moeller’s ‘‘Inspection;’”’ Peter = 
POSUMSL ces 5 Pade ok ee ee nen bone eee 340° 
858. Charles H. Davis’s “‘A Connecticut Val- 
ley)? Wy Mo Millan 03): .cc ones doar 700 | 
| 854. A. H. Thayer’s “‘ Lillian,’ R. Maxwell. 400» 
| 865. Benjamin West’s ‘ Expulsion from 5 
Eden;” H. W. Watrous......0.....0d0020 200 . 
856. Gilbert Stuart’s ‘‘Senator Young;” Mor- 
DiS Kei FORM eek oh 6 be te 675. 
857. bic 38 ese be eale’s ‘* Washington;’’ 8. A ‘ 
ACER REIN ease AMIN gC 08s ,100 | 
| 858. Shares *D. Wéldon’s ‘‘ Dreamland;”’ W. j 
| O Eel 2 21: got ipa ent rpeaeeNUN Me Ue Geel Une chrngrd etl Meet 3 625° 
859, Charles F. Ulrich’s "‘ The Spinner;’’ aa 160 ’ 
360. Winslow: Homer's ‘‘The Two Guides;” eee | 
CT BLAED ieis Diailwlaoen ov aol eae ee aleiera nin hg al 
| 861. Inness’s ““Summer Foliage;’”? ———..... 5200/7 
862. Louis Moeller’s ‘‘ Disagreement;”’ Cor- A uae) 
coran Ave Gallery: sols eaa een els 1,800 
868. W. lL. Picknell’s i Ganaey Morning;” W. 
Bi; hearse sith esse eka encemenenee 900 | 
864. H. Siddons Mowbray’s “‘Aladdin;” R. 8. ‘ 
Barnes. a 875. 
$65. Inness’s “Delaware ‘Valley;”” Metropoli- 
tan Museum of Art.. 8,106 
| 866. Eastman x ohnson’s ‘New England Ped- Pe 
dier:’ O. Whitcomb... 480. 
867. A. H. Wants ‘‘Dawn—Keene Valley;” $33 
Oottier ds Ooi goers ase ca iove eee 2,500 - 


® ie Woe os 
880. ie other" a eae Trout; Bos- a9 
831. a raed 8“ ie oe James Gain: Lo 


| 868, Robert Wylic’s 
Corcoran Art Gallery....... 1,400 } 
| 869. D. W. Tryon’ s ‘Return Home. at Twi- i 


sere Panay: 


from hath d- 


ocean 
hreys.. wees ae “3 
" ‘Chios and ‘Sam; 


séum of Fine Arts.. 


sata 


stan Mes Pee R ed we ee ee ee eee ene tere 


MG. CLOSDY. oie. y ieee cy eset esse ee eens mA AINe: 

834. Wyatt Eaton's ‘‘ Daphne:” Walters... Real eon 

835. R. Swain Gifford’s Nashewanna stand)? ¢ 
‘0. A, Durrell. 24.05. 

836. Charles C. Currau’s “The ‘Wreck; Lene 

337. Jervis ‘McEntee’ 8 ‘‘EKastern Sky ‘at Su 

pets’? Corcoran Art Gallery, /..2:..5.00 ae 

838. Kwara Simmons’s “A Passing ‘Train; one 

. Blair, Chicago. . rg 


339. Bruce Crane’s “Afternoon Light; a8? a. Ww. i ; aa) ; 


MOPS) iy ics ae in laden t aeeareee eae 
840. Winslow Homer’s ‘‘ The Breakwater’? ® 
BE. McMillan... ... 


841. ee thd Threatening;’” E. “McMillan. 
842. Thomas Eakins’s * Professionals at Be 


hearsal;’’ A. C. Humphreys............ 150° 

843. D. W. Tryon’ § “ Evening;’ " Pennsylvania eae 
Academy of Fine Arts. . 1,000" 

844. Ei. A. Abbey’s 2 Ping ‘Apple ““Blos- Ba Ss 
soms:’”’.Mrs, T. L. Manson. ....,....... 604 

846. Homer Martin’s “Indian Summer;” A.C, Went 
FUN DHPC VS is SS ales daete ce acing a) 7 BOO) 

846. George B. Butler’s ‘“‘Puss at Rest;’ FF. 
WSO CKELALL OR lo sts ee Side sa ee ae ieee ee 250 
847. Irving R. Wiles’s ‘‘Shady Lawn;’’ T. AL fA 
ETL OLRM cro saie iota ick ticks bial oleae woclleva eta eee aan 2385 

$48. William Bliss Baker’s *‘ Silence;’’ 8. B area assis 

AVOTM I LEG Ok. viol icles eee pig enim caine 1,800 
849, A. P. Ryders “Christ Appearing to ince, 
Marys) Cottier 8 Ooi i.6) i. awn ene . 1,000. 


350. Winslow Homer's ‘“ Moonlight—Wwood’s 


Island Light;’’ Boussod, Valadon & Co, 3,650 


851. Inness’s ‘‘ Winter Morning—Montelair;”’ 


‘A Fortune Teller ‘of 
Brittany;’’ 


Boussod, Valadon & Co,...... i 


light;’” - 
“Bight Bells; H. 


870. Winslow Homer’s 


Schatis.. ; 4,700 | 


871. J. Francis ‘Murphy’: a ‘October;””. Corco- 


| 888. Pec Maynard's s“Bacchante;* Se 5 ae 


FAD ATE Gallery iiss ddatongean ty tawny 2,100. 


872. dae hl s lexi a Summer aires E. 
McMillan.. alla abate eek 

BEOAPINUL WTO’: 

Total last evening. Fak oth TESA ER REI ef, $68,680, 00. 

NInesday evenine’s Sale... ......ecceeceeee 54,040.00 - 


Wednésday evening...... Beat clicty Vib bran illo 50, 555.00 | 
| Thursday eyening..... BEE ase ae 9 jake tip aidare 61,220, 00 


cane 


| Toe ee for the 872 paintings of the collec- 
[oe a Fe Ups Wy PAC tere eamias nas bits irk oA 


| First three afternoon sales of objects of 


eres 


$2 84,495.00 ft 


PND ite ce Aaa aaah a's shea Mets alae aa iat $66,989.50 | 


Total to date........cleeeeeeeese- + -$301,484,50 


cS 


_ ARTIST GOT 


was es ne arene 


“A GRAY, LOWERY 


Ten at Ser Pa: 


Artist Was Delightéd 
| to Get the Origi- 
nal Price, 


ISN'T THIS A BOOM. 
| IN NATIVE ART? 


Bae kg in the acuiaae of divine hue | 
manity it was not strange chat George Inness 
became convinced that he worked with the 
guidance of a divine power which directed 

him in his labor and led him to. an UW 


standing of what he painted and to ex 
| ing it truthfully upon his canvas. He did n 
| endeavor to paint nature. He considered that | 
| he was writing nature in colors’ He once. 


said to George W. Sheldon, whose biography » 
of him appeared in the Century Magazine:— 

Rivers, streams, the rippling brook, 3 
e, the sky, clouds—all things” we see- 
will convey the sentiment of the highest art 


if we are in the love of God and the desire. 
of truth.” 


Inness was born in May, 1825, near wees, 
re, N. Y. He was a delicate, nervous 


hild, afflicted, as he himself often told, with 
awful dreams, which would ‘rouse eg dart 


Inness isa eBicws | 
Record in ae ) 
can Art. — 


HIGHEST nee FC OR | 
ite OF ITS SIZE. 


a eal ae 
ought with discretion 
assible invest: t 


SR N, at ‘His father 
and wanted him to go into , 
y had had some lessons 


pk) York city, 4 
latent sense of color, | 
' of Régis Gignoux, a 
| — io New ‘York. 


year i “He fap is ed to 
a while, but in 1850 went to 
1 art was at this time under 
such glants as Millet, et, Corot and 


deeply in- 
eheinies 4 of cayeiedhane Past 
aid to have constructed from these | | 
on of his art. 


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